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This essay explores the profound impact of Giambattista Vico's philosophy of history on two nineteenth-century museographic projects. 1 The two collections are Michele Cavaleri's museum in Milan and Enrico Cernuschi's museum in Paris. Vico's emphasis on historical knowledge as the key to understanding human civilization, and his unique approach to the aesthetics of primitive cultures influenced scholars and collectors interested in the origins of art and architecture throughout the eighteenth and nineteenth centuries. I first discuss the Milanese school of philosophy, which played a pivotal role in re-evaluating Vico's contributions, and its impact on both Cavaleri and Cernuschi. The two collectors, deeply rooted in Milan's intellectual circles, incorporated Vico's ideas into their museums, which aimed to showcase the interconnectedness of art, culture and history. Their endeavours to advance the contextual understanding of works of art are discussed, shedding new light on the influence of Vico's anthropological historicism on nineteenth-century thought and culture. [ABSTRACT FROM AUTHOR]

If the secession of formerly colonized countries from large imperial units is a story of political hope, the central actors in Quinn Slobodian's story perceive the opportunities provided by the proliferation of new jurisdictions following decolonization very differently. According to the "market radicals" of the late 20th and 21st centuries, the break-up of empire is not a story of the potential for the democratization of politics and history-writing. Their ideas do however offer critiques of modernity. In this commentary, I convene critics of modernity – anticolonial leaders, historians of decolonization and the aftermath of empire, Indigenous and tribal peoples and their historians, and decolonial thinkers – in conversation with the capitalist adventurers of Slobodian's tale, via an exploration of the limits and possibilities of history-writing and the politics of historicist discourse. [ABSTRACT FROM AUTHOR]

According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible account of the value of HAP in work-performance regards HAP as a way of performing works of past centuries convincingly. However, this approach does not support the mainstream view because this only leaves HAP as an interpretive option. Finally, an alternative defence of the value of HAP in the form of an indispensability argument is considered: HAP is indispensable to accurately comply with a work's score, and thus to perform it faithfully. This strategy supports the demands of the mainstream view, but we will see that, if we take this option seriously, HAP must be understood in a substantively different manner than the mainstream view does, such that it ultimately amounts to the second option analysed above. [ABSTRACT FROM AUTHOR]

The article focuses on William Sherman's exploration of alternative ways to engage with Afghan history and religious texts beyond conventional frameworks. Topics include the limitations of nationalist, ethnic and secular interpretations; Islamic poet Bayazid Ansari's mystical legacy & divine self-disclosure; and Sherman's critique of historicism in interpreting Pashto texts, particularly "The Best Exposition", as he strives to uncover a language of divine experience unbound by human constructs.

The article charts the evolution of Ghar Parivar or Home and Family (1972-mid1980s) and Ghar Bahar or Home and Outside (1979- late 1980s) two early women’s programmes, from being classified ‘programme for minority’ in TV listings to becoming significant counter-public spheres that effectively mounted national discussions from a ‘women’s perspective’. A historic and contentious Ghar Bahar episode is examined as a media event, including an interview with a session’s judge about the unprecedented verdict in a dowry murder case that served as national testimony and led to significant legal reforms. The final section investigates how, despite rising from its marginal position to prime-time programming in the early 1980s, the women’s programme was co-opted by the state, which now closely monitored women’s issues and appropriated its distinct realist aesthetics to project a progressive image and media autonomy. Given the loss of original episodes, this case study employs textual historicism, relying on interviews, legal rulings, media reports, and a few available fragments of the women’s programme to reconstruct the significance of women’s shows and women producers in early Indian television. [ABSTRACT FROM AUTHOR]

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, criticism of objectivism, collectivism, and historicism of Friedrich August von Hayek of one of the most important thinkers of the 20th century is discussed. The nature of these three methodological methods has been evaluated around Hayek's thought world and idea. Along with the enlightenment period, significant progress and development in the natural sciences have been stated by many thinkers that the methodology of the natural sciences is a method suitable for social sciences. However, Hayek has criticized the 'scienticism' methodology, which is thought to be used in social sciences because human knowledge and mind are structurally limited. Again, Hayek stated at every opportunity that the methodology of the natural sciences is not suitable for social sciences because of the unpredictable, unpredictable and unpredictable nature. [ABSTRACT FROM AUTHOR]

This article offers a detailed analysis of Ilyenkov's conception of the relationship between the logical and the historical. It posits that Ilyenkov, by overcoming the theoretical impasses of mainstream Soviet Marxism, was the first thinker to recognize the centrality of this relationship in dialectics. Through a brief overview of the official conception of Diamat, I explain that the latter broadly understood the relation of the logical and the historical in a rather superficial way. I then argue that Ilyenkov's approach to dialectics as the ascent from the abstract to the concrete, combined with his research orientation towards the method of Marx's Capital and his reevaluation of Hegel's philosophy led him to a much deeper understanding of the inner unity of the method of ascent from the abstract to the concrete and the relation of the logical and the historical. In reconstructing Ilyenkov's analysis on this matter, I explain how the unfolding of the categories throughout the ascent from the abstract to the concrete is inextricably intertwined with the relation of the logical and the historical. Therefore, the article concludes by arguing that Ilyenkov's analysis marks a significant advance in the understanding of dialectics in the history of Marxism, and a core aspect of this deeper understanding is his systematic approach to the relationship of the logical and the historical. [ABSTRACT FROM AUTHOR]

This study involves translating, cross‐culturally adapting, and validating the Literary Response Questionnaire (LRQ) for 413 Spanish adolescents. It explores the evolution of literary education in Spain and its alignment with the Reading Responses paradigm. The LRQ, adapted across various locations, is validated in Spanish through Exploratory and confirmatory factor analyses. The research analyzes reading responses in dimensions like Leisure Escape, Insight, Empathy, Story‐driven Reading, Concern with Author, Imagery Vividness, and Rejecting Literary Values. Findings reveal widespread indifference and rejection toward literary reading among the adolescents, along with a clear disapproval of the historicist‐authorial approach to literary education. Significant variations were identified based on students' gender, enrollment in a bilingual program, and notably, the number of books read per year. This underscores the significance of introducing literary reading practices in secondary education that align with the leisure preferences of adolescents, encouraging personal and experiential engagement with texts. This could materialize in the classroom the shift from a historicist to a reader‐centered approach suggested by the current Spanish curriculum. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper is a review of literature on the historical relevance of African traditional song texts from the perspective of new historicism. It sides with the argument that the traditional history-making criterion, historiography, is not as factual or faithful in history-making as historians often suggest. It further supports the views that history is an imaginative text and literature (imaginative literature) a text of history; African traditional song texts, though literary texts, are reliable sources of history; and that oral tradition is a good source of history and complements written sources of history. In the paper, copious literature on these arguments is reviewed. It is found that literature opining that traditional song texts are reliable sources of history and are at once literary and historical texts abound in scholarship. It is also found that scholarship is replete with literature contesting historiography's claim to faithful and factual recording of history. It concludes that as literary texts, African traditional song texts are weaved with materials drawn from society and, therefore, reflect the yearnings, experiences, and outlook of the society at the various historical moments and trajectories, making them not only historical texts but also good sources of history. [ABSTRACT FROM AUTHOR]

This is an article about the relationship between historical scholarship and pedagogy. The teaching of history can itself be seen as a meaningful form of historical scholarship and poses some of the same methodological, theoretical, and ethical questions as historical research, albeit usually generating quite different answers to the queries. I delve into three sets of questions that are of significance to historians in our roles as researchers and as teachers. In scholarship and in teaching, it pays to consider the relationship between authority and humility. In the library and the classroom, there is a balance to be struck between narrative and analysis. In both settings, one must at times choose between historicist particularity and human universalism. I discuss each set of tensions with reference to such thinkers as Paulo Freire, bell hooks, and Friedrich Nietzsche. In each case, I also draw on my own experience in the classroom, particularly my time teaching tenth‐grade world history. Throughout, I suggest that intellectually and ethically flourishing history classrooms are often "houses with exposed beams," in which teachers initiate students as junior members in communities of historical inquiry, often, though not always, through collaborative analyses of revealing primary documents. [ABSTRACT FROM AUTHOR]

This paper makes a distinction between ahistorical causal-functional kinds and historical kinds, which include both type- and token-historical kinds, some of which are "copied kinds." After showing how these distinctions play out in various social sciences, a number of reasons are put forward for the historical individuation of some social kinds. As in the natural sciences, historical individuation in the social sciences can enable us to infer common causes, explain synchronic causal properties, and discover exceptions to causal regularities, among other epistemic aims. [ABSTRACT FROM AUTHOR]

The study examines the early incorporation of reinforced concrete in the architecture of Historicism in Austria–Hungary. Spanning the late 19th to early 20th centuries, the research illuminates the period's stylistic pluralism and the transformative impact of reinforced concrete. The paper examines the integration of reinforced concrete into traditional forms, providing detailed case studies and architectural examples. It navigates through various aspects, including the evolution of reinforced concrete during the historicist period, its adoption in notable structures, and its documentation in contemporary literature. Case studies, such as the Lutheran Church in Battyánd (now Puconci, Slovenia), the Roman Catholic Church in Topolya (now Bačka Topola, Serbia), and the former Synagogue in Český Krumlov, Czechia, showcase the innovative ways reinforced concrete addressed structural challenges while adhering to historicist aesthetics. The research concludes by reflecting on the transformative role of reinforced concrete in challenging the conventions of Historicism, paving the way for modern architectural expressions. [ABSTRACT FROM AUTHOR]

In his poetry and fiction, Alai creates a historiography of Eastern Tibet replete with the grandeur and magnificence of the past occasionally interposed with some oppressive cultural practices. It is a historiography motivated and energized by nostalgic lyricism, which helps locate and construct a symbolic Tibetan ethnicity. This article proposes that Alai's nostalgic lyricism critically reflects on the inversion of loss and the compensation of lack, thus articulating alternatives against the discontent of the present. In so doing, Alai formulates a minority position against the forces of deterministic historicism and discourse of linear modernity that have constantly placed the minority subject in modern China under threat of erasure. [ABSTRACT FROM AUTHOR]

Starting from J. Fabian’s critique of anthropology and its study of the ‘primitive’ Other, Fernando Esposito discusses R. Koselleck’s work as a critique of historical practice, not least the practice of periodization. While often understood as ‘merely’ a contribution to the question of temporalities, Koselleck actually aimed to develop a new way of writing and understanding history. Seen in this light, his work on historical time is really about a fundamental theoretical reorientation of the discipline. This fundamental reinvention of history was the central problem Koselleck wrestled with. Based on his personal experience of the Third Reich and the Second World War, he came to the conviction that history had no meaning and no goal, and therefore undertook a historicization of historicism, i.e. a re-evaluation of the way history had been written up to his own times. Koselleck’s historicization of historicism was a decisive chronopolitical act. It was catalyzed by his intention to debunk an unhistorical understanding of history and to replace it with a self-reflective, truly historicist historicism, a metahistory reflecting upon the ‘conditions of possible histories’. [ABSTRACT FROM AUTHOR]

This article considers Kristian Levring's 2000 film The King is Alive from a radically open historicist methodology, analysing the film as a product of multiple interleaved archives. An adaptation of King Lear , the film's relevant archive includes documents from the English Renaissance like the early modern recipe books and seventeenth-century medical treatises that this article uncovers. Yet because The King is Alive was filmed in an abandoned German mining colony in the Namib desert, the archive must also include accounts of the colonialist 'Scramble for Africa' more than two centuries after King Lear was written. The methodological deftness of history-as-adaptation allows us to see the film's anxieties about food that rest at the nexus of these two archives. Shakespeare's play worries about liminal foods—species-specific foods, foods that fail to nourish, and foods that become poison—but the film updates these concerns to implicate Western imperialism and global capitalism. Surrounded (and, in one instance, killed) by potentially botulistic cans of carrots that remain after the German occupation, the characters in the film must grapple with the toxic leftovers of colonialism, including Shakespeare's playtext. The film thus asks its audience to consider further archives related to the imperialist roots of the invention of canning, the discovery of vitamins, and the export of Shakespeare as a 'civilizing' figure. Finally, the film gestures to the foodway challenges exacerbated by both capitalism and climate change, becoming a palimpsest of archives from across multiple temporalities: a Shakespearean past, a colonialist present, and a warming future. [ABSTRACT FROM AUTHOR]

This essay engages with lyric poems by Baudelaire as a means of probing the limits of allegorical-political reading. Critically confronting, and to some degree recoding, Theodor Adorno’s practice of allegorical-dialectical interpretation, the essay seeks alternative, abstract, non-allegorical logics of historical time within Baudelaire’s verse. These are located in both moments of paradoxical stasis – the apparent negation of time and forward movement – and in instances of sudden material impact, neither easily recuperated in an allegorical reading. The essay distinguishes its distinctive formalism from deconstruction, and, in conclusion, its interpretive procedures are tested against those of Fredric Jameson, perhaps the most distinguished inheritor of the allegorical-political tradition of literary critical reading. [ABSTRACT FROM AUTHOR]

This essay stages an encounter between Michel Foucault and Franz Rosenzweig by juxtaposing their parallel observations on the continuity between history and war. While Foucault analyzes the strategies organizing seventeenth-century historical writing about the Norman conquest of England and the Frankish invasion of Gaul, Rosenzweig opposes the warlike progress of Christian history to the eternal peace of Jewish time. Through this comparison, the essay reevaluates the terms governing well-known debates about Jewish history and Jewish memory. It asks what role the concept of "war" has played in the emergence of modern Jewish historicism and the so-called Jewish return to history. The essay concludes by submitting the Israelite conquest of Canaan as a supplement to Foucault's examples and as a critical index of the bellicose grammar underwriting the representation of Jewish history as a field of struggle. [ABSTRACT FROM AUTHOR]

In this paper, we focus on the moral responsibility of organized groups in light of historicism. Historicism is the view that any morally responsible agent must satisfy certain historical conditions, such as not having been manipulated. We set out four examples involving morally responsible organized groups that pose problems for existing accounts of historicism. We then pose a trilemma: one can reject group responsibility, reject historicism, or revise historicism. We pursue the third option. We formulate a Manipulation Condition and a Guarding Condition as addendums to historicism that are necessary to accommodate our cases of group responsibility. [ABSTRACT FROM AUTHOR]

How is Nietzsche's genealogy of morality relevant to his revaluation of values? I consider and reject three accounts: contingency accounts, pedigree accounts, and unmasking accounts. I then propose an alternative account. On this view, Nietzsche provides a 'deconstructive genealogy' that indicates whether and where we should expect to find unity in our current moral practices. Moreover, Nietzsche's history contributes to a critique of contemporary morality because it reveals that morality is unlikely to have the kind of unity required by many of its defenders. After explaining and defending this account of genealogical critique in GM , I show how it can be generalized to domains besides morality. [ABSTRACT FROM AUTHOR]

The historicist and cultural-essentialist filmmaker King Hu set most of his martial arts films in the Ming dynasty, a turbulent but legendary period in Chinese history. This article examines two archetypes in Hu’s films, namely the righteous Confucian scholar-xia and the politically powerful eunuch, who engage in contestations of masculinity within ideal cinematic spaces (jianghu, milieu). These settings and character designs profoundly influenced the martial arts genre. Hu’s cinematography embodied a field for negotiating Chinese masculinities that deviate somewhat from Euro-American theorising about gender binarism and masculinity. By tracing the historical and cultural origins of the scholar and eunuch archetypes, and scrutinising their cultural identities, power structures, gender negotiations, and distinctive notions of nationhood, this article illustrates that Hu’s works parodied and critiqued the problematic authoritarianism of the James Bond film series, despite the prevalence of Bond-esque Western ‘heroes’ in Hong Kong popular culture during the Cold War. He idealised the politically marginalised scholars, critically appraised the hegemonic and transgender eunuchs, and constructed unconventional and resolute swordswomen, and thereby re-articulated the gender and power systems of wen and wu, yin and yang, to revive Chinese cultural traditions and allegorise the sociopolitical landscape. [ABSTRACT FROM AUTHOR]

Vicarious responsibility exists. It is (also) a species of moral responsibility. Nevertheless, it is seldomly discussed or considered as such in the main debates within moral philosophy. This article presents a case for the relevance of vicarious moral responsibility to several of these discussions. It seeks to provide new insights for the debate between historicism and structuralism and presents a further case for distinguishing between various facets of moral responsibility. Furthermore, the article demonstrates that an agent need not enter into the relation of vicarious responsibility freely in order to be responsible. This idea then allows us to present new cases for compatibilism, demonstrating the consistency of moral responsibility with determinism. [ABSTRACT FROM AUTHOR]

This essay argues that the emergence of the narrow sense of British Romanticism, which prevailed in Romantic Studies up until the 1980s, can be attributed to historicist thinking. Thomas Carlyle's essay "Signs of the Times" (1829) and his early (and only) novel Sartor Resartus (1836) bear witness to the origins of thinking about literature in terms of literary ages. In a conservative fashion, these texts present an image of Romanticism that concentrates solely on subjectivity, creativity, genius, and the imagination. This portrayal omits other characteristics that were instrumental in defining the era, and crucially overlooks female authors. With the emergence of historicism, a vibrant intellectual environment is thus reduced to a narrow set of aesthetic features. [ABSTRACT FROM AUTHOR]

When and how do agents consciously reproduce or unconsciously transform social structures? This inquiry is pivotal for advancing a theory of socio-historical development, particularly in addressing a key debate within International Historical Sociology (IHS) surrounding modern revolutions. This debate revolves around the tension between the "consequentialist" interpretation of bourgeois revolutions and the "revisionist" critiques, notably from the "historicist" wing of Political Marxism (PM). This article contends that the tension arises from an inadequate conceptualization of the agent-structure relationship. Drawing on Roy Bhaskar's transformational model of social activity (TMSA) and critical realist philosophy of science, the article proposes a conceptual framework reconciling PM's focus on class struggle to understand the historical specificity of capitalism with the role bourgeois revolutions historically and structurally played for the development of capitalism. Integrating Bhaskar's framework with historical materialism-inspired debates on bourgeois revolutions, the paper suggests that agents' unconscious actions can transform social structures amid social disintegration ("classic bourgeois revolutions"). Conversely, agents consciously seek to preserve and reproduce social structures, as seen in "passive revolutions". This occurs when social structures, marked by inequality and hierarchies, are viewed as historical constructs rather than natural phenomena, particularly in the context of uneven and combined development of capitalism. This analysis contributes to ongoing IHS debates, enriches our comprehension of modern revolutions, and extends TMSA by empirically delineating circumstances wherein agents consciously uphold or unwittingly trigger the transformation of social structures. [ABSTRACT FROM AUTHOR]

John Maclean's 1988 call "Marxism and IR: A Strange Case of Mutual Neglect" has generated a rich bounty of Marxist studies and paradigms in International Relations (IR). This cross-pollination merged in the 1990s with the "historical turn" and shaped the sub-fields of International Historical Sociology and International Political Economy. But has it left its mark on how IR is practised today? We argue that while Marxism has spoken significantly to the discipline, mainstream IR, even Historical IR, has been largely impervious to Marxist arguments, drawing the standard charge of economism and structuralism. Rectifying these critiques, we suggest that conventional historical studies of "the international" remain methodologically and substantively impoverished. We exemplify this by showing how leading Historical IR studies of "systems change" fail to explain the inside/outside and public/private differentiations constitutive of the modern international order and to integrate the "levels of analysis" they presuppose. We further argue that this rejection has been facilitated by influential Marxist IR paradigms, which ultimately privilege structuralism over historicism: While Neo-Gramscians initially mobilised "historicism" to dissolve claims about the "sameness" of international relations across time and space, the approach became identified with the reified master-category of "hegemony". Uneven and Combined Development, in turn, has gravitated towards matching Neo-realism's claim to theoretical universality by insisting on transhistorical model-building and nomological "grand theory". Both approaches remain over-sociologised and fail to address international politics. Drawing on radically historicist Political Marxism, this article shows how its substantive socio-political premises explain the historical formation of the contemporary international order and re-unite the "levels of analysis" theoretically to provide a framework for non-reductionist and non-economistic accounts of historical international relations. This requires an answer to the agentic challenge of Neo-Classical Realism by reincorporating grand strategy, diplomacy, and international politics into a reformulated perspective of Geopolitical Marxism to track the full historicity of the making of international orders. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While proceeding toward the end of War and Peace a reader can find itself startling and struggling to understand what kind of work is actually dealing with. The fictional narration is not yet concluded when L. Tolstoy (1828-1910) starts to lose himself in philosophical discussions regarding the nature of history as a science. Suddenly words such as god, he- roes and men start to fill the pages recalling in the mind the language of a philosopher with at his back a history of long oblivion, the Italian G. Vico (1668-1744). The common terminology is only the triggering point for approaching a possible comparison between two authors that are so distant for time, context, interests, life and styles. A deep reading of their works however reveals some points of contact especially in a critique of their contemporary historicism, in their common interests on history as an objective science, on the analyses of events recollection and invention of tradition, in their overlapping instances of heterogeneity of ends and their reference to divine providence. A specific and different investigation might be necessary in order to understand whether those concepts somehow traveled along about one century and half from one to the other or whether they are just floating ideas of historical discourse. Nevertheless, starting from their commonalities the paper offers a clue on their inevitable divergences and a possible development of some of their central concepts. Being Tolstoy a writer of the ungraspable and indeterminate, concepts related to complex thinking will emerge during the reading. [ABSTRACT FROM AUTHOR]

This article examines the treatises and law reports of Sir Edward Coke (1552–1634), the Attorney General under Elizabeth I and later, Chief Justice of the courts of Common Pleas and King's Bench. The article juxtaposes Coke's expressions of the common law's uniqueness and antiquity with the historical scholarship of Coke's peers that illuminated English legal, cultural, ethnic, linguistic, and institutional identity. This antiquarian historicism increasingly located the source of English ethno-cultural identity in the Anglo-Saxon period of English history. Whilst Coke's belief in an immemorial common law necessarily placed its origins in the native British past, the following argues that Coke was receptive to contemporary scholarship that had solidified the association of the Anglo-Saxons with a discrete sense of Englishness. Indeed, subscription to the burgeoning antiquarian consensus that the Anglo-Saxons were the first English people was not necessarily incongruous with belief in an immemorial, pre-Saxon common law. [ABSTRACT FROM AUTHOR]

Enlightenment thought and its contemporary followers usually support two contradictory principles simultaneously. The first is universality. Truth is universal because it is truth for all. Claims to universality are made in logic and science, but also in areas that are culturally or politically controversial. Recently, universalism has become a key term to express a fundamental critique of identity politics. For much of European history, Christianity provided such a universal truth. But with the decline of its cultural hegemony and the rise of particular nation-states, conflicting truth claims became weapons in violent conflicts, leading Hobbes to argue that dangerous truth claims must be neutralized by robust political power. In the eighteenth century, rationalism became more optimistic, interpreting universalism as cosmopolitanism based on universal reason and progress through history. The second principle is historicism, which is the self-reflexive look at the historical origins of universal claims and theories. Historicism emerged in the nineteenth century as a response to the application of rationalism to history. It challenged the universal claims of the French Revolution, emphasizing instead the unique value of each historical entity. This revealed a fundamental paradox: when universalism becomes self-reflexive, it recognizes that it has non-universal historical origins, thereby undermining itself. After the devastation of World War II and the Holocaust, the Universal Declaration of Human Rights (1948) represented a significant effort toward a new universalism. It sought to establish human rights as universal principles for the emerging world order. But history repeated itself: Historicism once again weakened confidence in human rights. The enemies of human rights take advantage of this weakness. We therefore have to live with the paradox that universalism is necessary because humanity shares a single world, but that historical self-reflection is also unavoidable. In other words, the Enlightenment principle of universalism must accept historicism as an integral part of itself. [ABSTRACT FROM AUTHOR]

This paper looks to the historical imbrication of racial and caste supremacy with citizenship, drawing attention to the inherent coloniality of citizenship in post-imperial Canada and India. We examine the transition from explicit to insidious, unofficial forms of institutionalized racial/caste supremacy. Explicit forms of supremacy have established and normalized forms of hierarchy that ascribe tiers of citizenship, even after legal guarantees of supremacy have been removed. We seek to examine the coloniality of modern citizenship to (a) better historicize the ongoing colonial violence of citizenship within post-imperial places and (b) penetrate the shield of fragility to help citizens come to terms with their unearned privileges. [ABSTRACT FROM AUTHOR]

This article discusses the politics of time in the culture wars of the 1980s by way of three comments on the discursive and political uses of the conceptual pairs historicism/otium, reform/revolution, and emergency/patience. This article argues that (1) the culture wars articulated a politically valuable dialectic of critique and the objects of critique, 2) historians tend to foreshorten their account of the culture wars and make light of their nonreformist origins, and (3) a reappraisal of the culture wars would provide precious signposts for strategic approaches to current political threats. [ABSTRACT FROM AUTHOR]

This article explores how Scottish National Party (SNP) activists in Edinburgh reimagine the enlightenment past to provide alternate timelines that are appropriated in the projection of utopian futures for an independent Scotland. Starting with the question 'what if history had happened differently?', SNP activists harness the 'what ifs' and 'would haves' of alternate timelines where the enlightenment continues uninterrupted by the political union of Scotland and England. This approach facilitates a form of futural revisionism which captures the potentiality of the past to become utopian future without foregoing the SNP's commitment to civic, rather than ethnic, nationalism. Thus, SNP activists are able to tow the party line of rejecting nostalgic historicism to remain open to all citizens of Scotland while still affectively engaging with the past to provide wishful utopian images for their independent future. [ABSTRACT FROM AUTHOR]

Predictions and illustrations of life in the future are often integrated in works of science fiction, which could not be immediately proven yet possibly fascinating when looked back on several decades later or at the times predicted in the works. Science fiction authors foretell such events by borrowing theories, concepts, or simply terms used by scientists. Those theories, concepts, and terms can be written in scientific journals or in more popular media. American science fiction works, for instance, illustrate the future by their adaptation in the forms of more popular media such as movies, video games, and the works categorized as the subgenres of cyber literature. All of them are discussed in this paper from the lens of New Historicism, which believes in equality between literary and nonliterary texts in viewing phenomena that exist in society, one of which is the relationship between science fiction works, their writers, their readers, and society. Technology is seen as a product of society, so it becomes broadly part of culture. Meanwhile, emerging technology is sometimes coincidental and random, so it can also be seen that technology determines people’s movements and lifestyles. This study contributes to ongoing discussions on the ethical and societal implications of speculative narratives by highlighting the interconnectedness between literature, science, technology, and society. [ABSTRACT FROM AUTHOR]

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Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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This essay seeks to establish a broader conceptual framework for studying the historical development of Latin American science fiction and its recent turn--in a genre usually focused on other times and worlds--to references to the past and present of Latin American history and culture. Valuable current studies of Latin American science fiction have been devoted primarily to the history of the genre itself and to tropes that have recurred in certain periods of the development of Latin American science fiction, such as cyborgs, androids, and zombies. Few have been devoted to the issues and forces at play in the current rise not only of science fiction in Latin America but of a recognizably Latin American form of science fiction. Through readings focused on the role of history and time in representative Latin American science fictional narratives of the nineteenth, twentieth, and twenty-first centuries, from the Argentine Juana Manuela Gorriti and the Chilean Jorge Baradit to the Cuban Yoss, the pervasiveness of historicity, the view of indigenous knowledge as proto science (rather than superstition), and a penchant towards dystopias, horror, and the Gothic, are considered as possible defining traits of Latin American science fiction. [ABSTRACT FROM AUTHOR]

The article attempts to present in a holistic form the aesthetic views of one of the central figures of Russian culture and aesthetics of the mid and second half of the 19th century – Vladimir Vasilyevich Stasov, whose views on the fundamentals of the development of art and artistic culture in general are relevant at the present time. In connection with the task, the concepts of nationality, historicism and nationality in art, which form the core and main line of development of Stasov’s aesthetic thought, come to the fore. At the same time, the unity of the theoretical attitudes of Stasov, who has enormous erudition in the field of both ancient and modern art, with his extensive practical activities as a music and art critic, responding to all significant events of cultural life, is emphasized. Based on the analysis of Stasov’s colossal critical and epistolary heritage, a general description of his aesthetic position is given, combining a democratic approach to understanding nationality, historicism as a support for the visual brightness of the national character, along with the elaboration of those shortcomings that are associated with the embodiment of these principles in art (“official” , “artificial” pseudo-nationality, stylizations - rough and refined, direct transfer of old outdated forms into modernity). The comparative historical method used in the study is represented mainly by analogies, as well as a statement of the existing differences in the cultural and aesthetic concepts of Stasov and the writer and philosopher, author of the famous «Russian Nights» V.F. Odoevsky. In this vein, the problem of Stasov’s influence on the aesthetics of the Balakirev circle in the field of music and the principles of social service, realism and nationality in the art of the «Itinerants» in painting are touched upon. The peculiarity of the article is that it is based to a large extent on rare sources – lifetime journal publications and the publication of Stasov’s collected works of the late 19th century.

This article is an attempt to analyse the stylistic changes in Lviv's religious monumental painting between 1890 and 1914. The best religious buildings of the capital of the Kingdom of Galicia and Lodomeria are characterised by an intense interaction of spatial arts. Lviv painters demonstrated their ability to solve a complex artistic problem - the creation of an architectural-painting ensemble. Their decorative works were characterised by an organic connection with the tectonics and function of the buildings. Decorating the interiors of large sacred buildings with the means of mural painting concretised their purpose. Lviv’s monumental painting, often associated with sacred architecture, was caught up in the patterns of academism of the time. In competition with Academism and Historicism, Art Nouveau in the works of Stanislaw Debicki, Kazimierz Sichulski, Marian Olszewski, Modest Sosenko and other artists, along with the Neo-Byzantine school of Mykhailo Boychuk, soon began to assume the function of the avant-garde.

تناول البحث أولاً فكرة الحداثة ومناهج الحداثيين العرب في فهم النصوص الشرعية، وقد رجع البحث إلى ما كتبه أبرز الحداثيين العرب (في مصر وتونس والجزائر والمغرب) أمثال حسن حنفي، وعابد الجابري، ومحمد أركون، وقام بنقل آرائهم وتحليلها. وقد وصل إلى أن فكرة الحداثة تركز على رفض القديم إلى ما هو جديد، وتعتمد على العقلانية والواقعية، وأن الحداثيين العرب اعتمدوا في فهم النصوص الشرعية على مبدأين أساسين؛ تحكيم الواقع في فهم النصوص، وتاريخية النصوص، بناءً عليه يسوغون تغيير الأحكام الشرعية -حتى الثوابت منها- برؤية جديدة معاصرة. وتناول البحث بعد ذلك نقد مناهج الحداثيين، من حيث كون الأحكام في الشريعة الإسلامية ليست نوعاً واحداً من حيث الثبات والتغير؛ فهناك بعض الأحكام الشرعية يمكن أن تتغير باختلاف الظروف والأحوال، ويمكن تحكيم منهج التاريخية فيها، وهي الأحكام التي استنبطها العلماء من النصوص الشرعية باجتهاد منهم ومراعاة لظروف بيئتهم. وأما الأحكام التي تتعلق بالأسس المبادئ تكون في النصوص الشرعية القطعية التي تجعلها من الثوابت، فلا يجوز تحكيم المنهج التاريخي في مثل هذه النصوص.

Different methodologies for studying Islamic era art have led to diverse and sometimes contradictory results. Despite the great body of theoretical literature, there is a lack of monographic and instance research. This study aims to investigate comparatively the two methodologies of Historicism and traditionalism for studying Islamic era art with an emphasis on architectural elements and decorations of Soltanieh dome. Traditionalism is a well-known method to study Islamic art. It relies on transhistorical and mystical facts to understand the meanings in Islamic era art. Historicism suggests that to understand the meaning of Islamic architecture (and Soltanieh dome, in particular), the architecture should be studied in various (locational, Historical, Situational, Social and Political) contexts. The main objective of this study is to compare the feasibility of the two methods to study the Soltanieh dome. After critical analysis of traditionalist studies of Soltanieh dome, it is studied using Historical approaches. The results indicate the lack of feasibility for the traditionalism to study the Soltanieh dome. Historicism criticizes the traditionalists' inattention to the contexts influencing the formation of Soltanieh dome meanings and generalization of religious concepts within a historical complex. Historicism considers Soltanieh arg and dome as the instances of political, religious and economic pillars of power which are structured in a syntagmatic manner and reflect the outline of the power structure and network. [ABSTRACT FROM AUTHOR]