Pub Date : 2022-10-02DOI: 10.1080/13642529.2022.2135814
J. Aurell
ABSTRACT From the 1970s onwards, postmodern, postcolonial and feminist criticism has reactivated the disapproval of the canon. Its academic and pedagogical usefulness remains challenged by historians who have generally been skeptical of its critical worth, its role as an instrument of hierarchization and standard of quality. Both the justification for the existence of the canon in history – which affects its content and function – and the criteria for the selection of an alleged canon of history – which affects its form and is concretized in a list – has been questioned. Nevertheless, in the early 2000s, there were major debates in some northern European countries about the development of historical canons as part of their historical education. These precedents show that the canon has its detractors and generates controversy, but in the end it matters. On the basis of a flexible definition and dynamic application, this article examines the place of the canon in (and of) history, arguing its relevance in historiography: its formation, key turning points, convenience, usefulness, and the desirability of its existence itself. This leads to questions such as: What are the epistemological conditions that make the durability of certain historical works and the discarding of others possible? What determines the systematic inclusion and exclusion of texts in bibliographical lists or in the indexes of the histories of historiographies? Why do the major canonical works usually imply a break with the past but, paradoxically, remain there when later works enter the list?
{"title":"The canon in history","authors":"J. Aurell","doi":"10.1080/13642529.2022.2135814","DOIUrl":"https://doi.org/10.1080/13642529.2022.2135814","url":null,"abstract":"ABSTRACT From the 1970s onwards, postmodern, postcolonial and feminist criticism has reactivated the disapproval of the canon. Its academic and pedagogical usefulness remains challenged by historians who have generally been skeptical of its critical worth, its role as an instrument of hierarchization and standard of quality. Both the justification for the existence of the canon in history – which affects its content and function – and the criteria for the selection of an alleged canon of history – which affects its form and is concretized in a list – has been questioned. Nevertheless, in the early 2000s, there were major debates in some northern European countries about the development of historical canons as part of their historical education. These precedents show that the canon has its detractors and generates controversy, but in the end it matters. On the basis of a flexible definition and dynamic application, this article examines the place of the canon in (and of) history, arguing its relevance in historiography: its formation, key turning points, convenience, usefulness, and the desirability of its existence itself. This leads to questions such as: What are the epistemological conditions that make the durability of certain historical works and the discarding of others possible? What determines the systematic inclusion and exclusion of texts in bibliographical lists or in the indexes of the histories of historiographies? Why do the major canonical works usually imply a break with the past but, paradoxically, remain there when later works enter the list?","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"439 - 465"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42395569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/13642529.2022.2135833
L. N. Bornstein
ABSTRACT The article highlights the central role that fictional, poetic, and artistic forms play in the construction and understanding of Kibbutz Buchenwald, a little-known episode that took place between 1945–1955 in which a group of 16 Jewish Holocaust survivors came together to build a kibbutz in Israel. The group was formed in Germany immediately after liberation, and after a number of years of preparation eventually immigrated to Israel, where they settled down and formed a kibbutz, whose name was changed to Kibbutz Netzer Sereni. In particular, the article focuses on Gil Yefman’s exhibition ‘Kibbutz Buchenwald’ at the Tel Aviv Museum of Art (Yefman, 2018) in collaboration with Dov Or-Ner and the Kuchinate Collective, as a starting point for the exploration of the affair. The exhibition made use of various art forms to revisit the historical event; it mingled fact and fantasies, revived a variety of narratives and collective traumas, and explored the rift between Holocaust and revival. An analysis of the ‘Goethe Oak’ motif in the exhibition demonstrates the crucial role of fiction in the pursuit of history, and the way in which art can propose a new perception of past and present.
摘要这篇文章强调了虚构、诗意和艺术形式在构建和理解布痕瓦尔德基布兹（Kibbutz Buchenwald）中所起的核心作用。布痕瓦尔德基布兹是一个发生在1945年至1955年间的鲜为人知的事件，16名犹太大屠杀幸存者聚集在一起，在以色列建造了一个基布兹。该组织于解放后立即在德国成立，经过多年的准备，最终移民到以色列，在那里定居并成立了一个基布兹，其名称改为kibbutz Netzer Sereni。特别是，这篇文章聚焦于Gil Yefman与Dov Or Ner和Kuchinate Collective合作在特拉维夫艺术博物馆举办的展览“Kibbutz Buchenwald”（Yefman，2018），作为探索这一事件的起点。展览利用各种艺术形式，重新审视这一历史事件；它融合了事实和幻想，复活了各种叙事和集体创伤，探索了大屠杀与复活之间的裂痕。对展览中“歌德橡树”主题的分析表明了小说在追求历史中的关键作用，以及艺术对过去和现在提出新看法的方式。
{"title":"Kibbutz Buchenwald: history and fiction","authors":"L. N. Bornstein","doi":"10.1080/13642529.2022.2135833","DOIUrl":"https://doi.org/10.1080/13642529.2022.2135833","url":null,"abstract":"ABSTRACT The article highlights the central role that fictional, poetic, and artistic forms play in the construction and understanding of Kibbutz Buchenwald, a little-known episode that took place between 1945–1955 in which a group of 16 Jewish Holocaust survivors came together to build a kibbutz in Israel. The group was formed in Germany immediately after liberation, and after a number of years of preparation eventually immigrated to Israel, where they settled down and formed a kibbutz, whose name was changed to Kibbutz Netzer Sereni. In particular, the article focuses on Gil Yefman’s exhibition ‘Kibbutz Buchenwald’ at the Tel Aviv Museum of Art (Yefman, 2018) in collaboration with Dov Or-Ner and the Kuchinate Collective, as a starting point for the exploration of the affair. The exhibition made use of various art forms to revisit the historical event; it mingled fact and fantasies, revived a variety of narratives and collective traumas, and explored the rift between Holocaust and revival. An analysis of the ‘Goethe Oak’ motif in the exhibition demonstrates the crucial role of fiction in the pursuit of history, and the way in which art can propose a new perception of past and present.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"517 - 550"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49431158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-27DOI: 10.1080/13642529.2022.2126618
Tuuli Matila, Vesa-Pekka Herva
ABSTRACT This article engages with the contemporary perceptions and representations of the Finnish cooperation with Nazis during World War II. The Finnish-German relations were complicated during the war, as Finland was first an ally of Germany but later turned against the German troops in the country. Focusing primarily on the uses of photographs, personal memoirs and oral histories in museum exhibitions and related contexts, we examine how the complex Finnish relationship with Germans is narrated. In particular, we consider the significance of the emotive and affective qualities of the presented material and how they mediate perceptions of and relationships with the wartime past. We first examine the friendly relations between Finnish civilians and German troops and move on the discuss how Finns perceive and position themselves to the Nazi racialized warfare and the Holocaust.
{"title":"`They are also victims of the war´: heritage narratives of the Nazis and their victims in Finland","authors":"Tuuli Matila, Vesa-Pekka Herva","doi":"10.1080/13642529.2022.2126618","DOIUrl":"https://doi.org/10.1080/13642529.2022.2126618","url":null,"abstract":"ABSTRACT This article engages with the contemporary perceptions and representations of the Finnish cooperation with Nazis during World War II. The Finnish-German relations were complicated during the war, as Finland was first an ally of Germany but later turned against the German troops in the country. Focusing primarily on the uses of photographs, personal memoirs and oral histories in museum exhibitions and related contexts, we examine how the complex Finnish relationship with Germans is narrated. In particular, we consider the significance of the emotive and affective qualities of the presented material and how they mediate perceptions of and relationships with the wartime past. We first examine the friendly relations between Finnish civilians and German troops and move on the discuss how Finns perceive and position themselves to the Nazi racialized warfare and the Holocaust.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"493 - 516"},"PeriodicalIF":0.6,"publicationDate":"2022-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42964368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/13642529.2022.2104967
Daniel Rueda
ABSTRACT The notion of the Anthropocene has gained momentum in many academic disciplines in the last couple of decades. Yet it seems that history, both as a human science and a political frame, fails to come to terms with this new geological epoch in which the distinction between humanity and nature blurs. Employing the concept of ‘hyperobject’, this article argues that such collision is not an accident or the result of historiography lagging behind. Rather, it is linked to both epistemological limits (related to time-scale, documentary and field autonomy issues) and political questions (related to human agency and universality). In conclusion, potential alternatives to posthuman anthropocenism are considered as a way to both maintain the foundations of the discipline and build post-anthropocentric approaches.
{"title":"The Anthropocene as a historical hyperobject","authors":"Daniel Rueda","doi":"10.1080/13642529.2022.2104967","DOIUrl":"https://doi.org/10.1080/13642529.2022.2104967","url":null,"abstract":"ABSTRACT The notion of the Anthropocene has gained momentum in many academic disciplines in the last couple of decades. Yet it seems that history, both as a human science and a political frame, fails to come to terms with this new geological epoch in which the distinction between humanity and nature blurs. Employing the concept of ‘hyperobject’, this article argues that such collision is not an accident or the result of historiography lagging behind. Rather, it is linked to both epistemological limits (related to time-scale, documentary and field autonomy issues) and political questions (related to human agency and universality). In conclusion, potential alternatives to posthuman anthropocenism are considered as a way to both maintain the foundations of the discipline and build post-anthropocentric approaches.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"371 - 391"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45724410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/13642529.2022.2095181
Kira A. Smith
ABSTRACT In this article, the author explores larger themes of empathy, imagination, and the historian’s craft through her process of writing a novella entitled The Red Chair. This historical fiction is about the psychiatric patients at the Brockville Asylum (Brockville, Ontario, Canada), and explores the daily lives of many inmates. It emerges from her Master’s Research Project, where the author sought to center emotions as a means of knowing. Reflecting on the process, she argues for a larger presence of historical fiction in academic scholarship to engage both with the past and the historian’s craft. The author argues that the expansion of disciplinary boundaries should include fictional conventions, which might assist in telling more difficult stories, and in her case, challenge the biomedical dominance of asylum histories.
{"title":"Using fiction to tell mad stories: a journey into historical imagination and empathy","authors":"Kira A. Smith","doi":"10.1080/13642529.2022.2095181","DOIUrl":"https://doi.org/10.1080/13642529.2022.2095181","url":null,"abstract":"ABSTRACT In this article, the author explores larger themes of empathy, imagination, and the historian’s craft through her process of writing a novella entitled The Red Chair. This historical fiction is about the psychiatric patients at the Brockville Asylum (Brockville, Ontario, Canada), and explores the daily lives of many inmates. It emerges from her Master’s Research Project, where the author sought to center emotions as a means of knowing. Reflecting on the process, she argues for a larger presence of historical fiction in academic scholarship to engage both with the past and the historian’s craft. The author argues that the expansion of disciplinary boundaries should include fictional conventions, which might assist in telling more difficult stories, and in her case, challenge the biomedical dominance of asylum histories.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"392 - 419"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42307054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/13642529.2022.2103619
Mikołaj Smykowski, Monika Stobiecka
ABSTRACT This paper discusses new types of naturecultural heritage that have emerged during the Anthropocene. The authors trace and analyze novel records of the ongoing geological event and propose a method of surface-oriented ethnography to investigate heritage in the Anthropocene. We argue that rethinking history in the Anthropocene means to think through new forms of heritage that emerge in the course of ecological processes of decomposition, decay and loss. The case studies analyzed in the article focus on matzevahs colonized by lichens and mosses, and on plasticrusts, a new form of tangible heritage characteristic for the Anthropocene. By investigating these two examples, the paper considers the significance of future heritage for studies in the history of the Anthropocene.
{"title":"Material records of the Anthropocene: a surface-oriented approach","authors":"Mikołaj Smykowski, Monika Stobiecka","doi":"10.1080/13642529.2022.2103619","DOIUrl":"https://doi.org/10.1080/13642529.2022.2103619","url":null,"abstract":"ABSTRACT This paper discusses new types of naturecultural heritage that have emerged during the Anthropocene. The authors trace and analyze novel records of the ongoing geological event and propose a method of surface-oriented ethnography to investigate heritage in the Anthropocene. We argue that rethinking history in the Anthropocene means to think through new forms of heritage that emerge in the course of ecological processes of decomposition, decay and loss. The case studies analyzed in the article focus on matzevahs colonized by lichens and mosses, and on plasticrusts, a new form of tangible heritage characteristic for the Anthropocene. By investigating these two examples, the paper considers the significance of future heritage for studies in the history of the Anthropocene.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"340 - 370"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41708129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/13642529.2022.2103618
K. Nelson
ABSTRACT Historical narratives seek to give us a shared reality, argued through recourse to evidence. Both impulses are under threat in the Age of the Anthropocene. This article introduces Live Interactive Documentary, a ‘performance dissemination’ model for history that deploys digital tools to merge cinema and lecture into a new form. It is designed to respond to Hayden White’s challenge in ‘The Burden of History’ and Bruno Latour’s call to gather as a bulwark to misinformation and the manipulative, political cooption of postmodern scepticism. Live Interactive Documentary creates a spectacle of archive and expertise, injected with post-postmodern values of polyphony and audience exchange, grounded in the local. This essay describes the form that I piloted with a team that includes historian Robert Nelson and composer, musician and media artist Brent Lee. Live Interactive Documentary is a model of ‘moving (image) history’ that seeks to cross boundaries between practice and theory, as well as history, film, multimedia performance art and participation. This hybrid cinema model draws upon theories of historiography, film and new media. It digitises earlier models of theatre and film exhibition and responds to the challenges of the Anthropocene by prioritising negotiation, complexity and gathering face-to-face in the real space of our analogue world.
{"title":"The historian is present: live interactive documentary as collaborative history","authors":"K. Nelson","doi":"10.1080/13642529.2022.2103618","DOIUrl":"https://doi.org/10.1080/13642529.2022.2103618","url":null,"abstract":"ABSTRACT Historical narratives seek to give us a shared reality, argued through recourse to evidence. Both impulses are under threat in the Age of the Anthropocene. This article introduces Live Interactive Documentary, a ‘performance dissemination’ model for history that deploys digital tools to merge cinema and lecture into a new form. It is designed to respond to Hayden White’s challenge in ‘The Burden of History’ and Bruno Latour’s call to gather as a bulwark to misinformation and the manipulative, political cooption of postmodern scepticism. Live Interactive Documentary creates a spectacle of archive and expertise, injected with post-postmodern values of polyphony and audience exchange, grounded in the local. This essay describes the form that I piloted with a team that includes historian Robert Nelson and composer, musician and media artist Brent Lee. Live Interactive Documentary is a model of ‘moving (image) history’ that seeks to cross boundaries between practice and theory, as well as history, film, multimedia performance art and participation. This hybrid cinema model draws upon theories of historiography, film and new media. It digitises earlier models of theatre and film exhibition and responds to the challenges of the Anthropocene by prioritising negotiation, complexity and gathering face-to-face in the real space of our analogue world.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"289 - 318"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47164956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/13642529.2022.2106706
P. Roth
ABSTRACT How did I come to write about the problems that I do? Certain accidents of fate determinatively impacted both my enduring intellectual interests as well as my opportunities to pursue them. Philosophy proved to provide an academic home that accommodated my peculiar interests. In this regard, a quote from White’s ‘Burden of History’ captured a challenge that I long sought to address: ‘We choose our past in the same way we choose our future’. Fashioning a philosophical rationale for this view guided much of my writing. Philosophers are not arbiters of matters of fact. But a defining feature of philosophy involves worries about how to avoid making weaker arguments appear the stronger. Rationality as I understand the notion requires making inferential structure explicit. My efforts to ‘revive’ analytical philosophy of history as with much of what I have written or hope to write reflect ongoing attempts to reconcile a sense of the contingency of what passes for rationality and a belief that some arguments are better than others. In this regard, reimagining logic to include a narrative form permits a rethinking of whether or not the ‘Burden of History’ proves unique to historiography. I argue not.
我是如何开始把我遇到的问题写下来的?命运的某些偶然事件决定性地影响了我持久的智力兴趣，也影响了我追求这些兴趣的机会。事实证明，哲学为我提供了一个适合我特殊兴趣的学术家园。在这方面，怀特的《历史的负担》(Burden of History)中的一句话抓住了我长期以来试图解决的一个挑战:“我们选择过去，就像我们选择未来一样。”为这一观点形成一个哲学基础指导了我的大部分写作。哲学家不是事实的仲裁者。但是哲学的一个决定性特征涉及到如何避免使较弱的论点显得更强。在我看来，理性需要明确推理结构。我为“复兴”历史分析哲学所做的努力，正如我所写的或希望写的那样，反映了我正在努力调和一种被认为是理性的偶然性的感觉，以及一种认为某些论点比其他论点更好的信念。在这方面，重新想象逻辑以包含一种叙事形式，允许重新思考“历史的负担”是否证明是史学所独有的。我不这么认为。
{"title":"Reflections: on writing and being written about","authors":"P. Roth","doi":"10.1080/13642529.2022.2106706","DOIUrl":"https://doi.org/10.1080/13642529.2022.2106706","url":null,"abstract":"ABSTRACT How did I come to write about the problems that I do? Certain accidents of fate determinatively impacted both my enduring intellectual interests as well as my opportunities to pursue them. Philosophy proved to provide an academic home that accommodated my peculiar interests. In this regard, a quote from White’s ‘Burden of History’ captured a challenge that I long sought to address: ‘We choose our past in the same way we choose our future’. Fashioning a philosophical rationale for this view guided much of my writing. Philosophers are not arbiters of matters of fact. But a defining feature of philosophy involves worries about how to avoid making weaker arguments appear the stronger. Rationality as I understand the notion requires making inferential structure explicit. My efforts to ‘revive’ analytical philosophy of history as with much of what I have written or hope to write reflect ongoing attempts to reconcile a sense of the contingency of what passes for rationality and a belief that some arguments are better than others. In this regard, reimagining logic to include a narrative form permits a rethinking of whether or not the ‘Burden of History’ proves unique to historiography. I argue not.","PeriodicalId":46004,"journal":{"name":"Rethinking History","volume":"26 1","pages":"420 - 437"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47435884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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