This paper offers personal reflections on the fashioning of the history of science in Europe. It presents the history of science as a discipline emerging in the twentieth century from an intellectual and political context of great complexity, and concludes with a plea for tolerance and pluralism in historiographical methods and approaches.

Some very recent “states of the field” of the history of political thought are rich in valuable information and raise many considerations. As often happens, though, rather than dwelling on what is shared, perhaps it could be more fruitful to reason in dialogue with the authors on how their reflection surprises or perplexes. In order to avoid unconscious ideological trends, the main issues to debate seem to be the idea of a role for the history of political thinking, (...) the global perspective, the meaning of context, the relationship between the history of political thought and political theory and, mainly, the concept of scholar’s interest. (shrink)

Eugene 'Gene' Vernier worked as a fashion photographer for British Vogue from 1954 to 1967, during one of the most exciting periods in fashion history. Shooting of-the-moment looks from the likes of Christian Dior and Emilio Pucci and top models including Celia Hammond, Jean Shrimpton, and current Vogue creative director Grace Coddington, Vernier worked with some of the biggest names in the industry. Yet he was relatively unconcerned with celebrity. Interested only in bringing out the very best (...) in each frame, Vernier was a true craftsman in the fashion photography trade. Featuring more than one hundred of Vernier's own favorite photographs drawn from Vogue's extensive photo archive, this lavishly illustrated volume reveals remarkable innovation in the use of props, backdrops, and location. Whether he was photographing his subjects by the sea, with a canine companion, or perfectly positioned atop a pale pink convertible, Vernier's careful composition enhanced the essence of his subject. Vernier shot mostly in black-and-white, and his trademark “look” is one of classic femininity. He sought to capture models when they were relaxed, enjoying the clothing, and confident that their photographer would show both only at their best. Providing commentary on the photographs are fashion history expert Becky Conekin and Vogue historian Robin Muir. This is first book to focus on Vernier's work at Vogue and it allows readers a rare glimpse of his inimitable blend of technical excellence and an eye for experimentation. (shrink)

Borrowing some of Aby Warburg’s methods from his Mnemosyne Atlas, this paper experiments with an anti-linear, non-teleological method of writing fashion history. It investigates fashion movement, gesture and pose, and their afterlife in images and objects. It thus looks at the intersection of time and the gesture, particularly in relation to the idea of the ‘now’, a central organising principle of fashion. To this end, it juxtaposes images of the body in motion from a wide range (...) of sources, including scientific photography, etiquette manuals and fashion magazines. Spanning three centuries, though not chronologically, the images show a range of activities: not only fashion posing, but also tennis-playing, duelling, dancing, military marching, social gestures, and going to the races. The paper proposes that each image is charged with some quality or attribute that is also immanent in one or more of the others, even though they have no causal or temporal relationship. (shrink)

Fashion is at once a familiar yet mysteriously elite world that we all experience, whether we’re buying a new pair of jeans, reading _Vogue_, or watching the latest episode of _Project Runway_. Lars Svendsen dives into that world in _Fashion_, exploring the myths, ideas, and history that make up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. _Fashion _opens with an exploration of all the possible meanings encompassed by the word (...) “fashion,” as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most common use of the term: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on runways aren’t actually “fashionable” in any sense of the word, arguing that they’re more akin to modern art works, and he argues against the increasingly prevalent idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics. He also traces the connections between the concepts of fashion and modernity and ultimately considers the importance of evolving fashions to such fields as art, politics, and philosophy. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit of the new. (shrink)

Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational device, (...) one imbued with a surprising philosophical pedigree and a long history of analytical weightiness. Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer’s Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation—which develop an aesthetics of change itself—enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change. (shrink)

In his review of Charles Spearman’s The Nature of ‘Intelligence’ (1923), R. G. Collingwood launched an attack upon psychometrics that was expanded in his Essay on Metaphysics (1940). Although underrated by friend and foe alike, Collingwood’s critique identified a number of defects in the thinking of psychometricians that subsequently became entrenched. However, his main complaint was that psychology generally (and, by implication, psychometrics) was a ‘fashionable scientific fraud’. This charge was inspired by his more general views on logic and metaphysics, (...) which, however, as I argue, are logically unsustainable. Ironically, other elements of his philosophy – his ‘fallacy of calculation’ and concept of ‘scale of forms’ – are relevant to psychometrics and tip the scales in favour of his otherwise unwarranted charge. (shrink)

Fashion has a varied and explosive history. Our responsibility as educators preparing students and therefore careers for this context places us in a very difficult and complex position. Do we prepa...

The unbridled consumption of clothing threatens the environment. In fashion communities, a discussion is developing around the adoption of new materials and economic models to reduce the impacts of clothing production and use. We discuss these emergent technologies in the wider historical setting of the Anthropocene, a geologic term that denotes the global-scale environmental changes brought about by agricultural and industrial activity. The long history of human-environmental interactions is interwoven with the development of international garment economies that have (...) shaped biological and physical systems. This article provides an account of how changes in clothing manufacturing and consumption patterns have... (shrink)

In graphic novel format, explains the theories of various philosophers through humorous examples and anecdotes.

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct acquaintance (...) with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

Walter Benjamin’s writings on fashion need to be read as engagements with the problem of historical time and a related politics of time. The aim of this article is to develop this position. Its point of orientation is Thesis XIV from the Theses on the Philosophy of History. What is argued is that close attention to the temporality of change and novelty within fashion may allow an insight into a conception of interruption and the ‘new’, however, it (...) cannot yield a politics. Moreover, the link between fashion and utopianism allows for the development of a critique of the utopian dimension of Benjamin’s thought. The basis of that critique is the inherent politics of time in his own writings. (shrink)

This paper examines self-fashioning in Aleksandar Hemon’s “Everything,” a story about a Sarajevo teenager’s journey through ex-Yugoslavia to the Slovenian town of Murska Sobota. His aim? “[T]o buy a freezer chest for my family” (39). While in transit, the first-person narrator imagines himself a rogue of sorts; the fictional journey he takes, meanwhile, is clearly within the quest tradition. The paper argues that “Everything” is an unruly text because by the end of the story the reader must jettison the conventional (...) reading traditions the quest narrative evokes. What begins as a comic tale about a minor journey opens out, in the story’s final lines, into a story about larger historical concerns, namely, the Yugoslav wars of the 1990s. By introducing contemporary history, Hemon points beyond the closed world of his short story, while rejecting the quest pattern he has established. (shrink)

SUMMARYThe sixteenth-century Huguenot émigré Jacques Bellot played a seminal role in the history of English and French language tuition, and is remembered for composing some of the first descriptive grammars for learners of both languages. His methods remained in use throughout the seventeenth century after being incorporated into the often-reprinted Grammaire angloise. This essay considers a previously undiscussed manuscript copy of Bellot's Rules containing the Perfect Understanding of the French Tongue for evidence of his early attempts to teach French (...) to members of Sir Thomas Wroth's family. The Rules provides new insights into how Bellot and his printers adapted the content and parallel-text layout in his subsequent printed manuals to create more efficient aids to language learning. (shrink)

During the 1940s and 1950s, the Australian microbiologist F. Macfarlane Burnet sought a biologically plausible explanation of antibody production. In this essay, we seek to recover the conceptual pathways that Burnet followed in his immunological theorizing. In so doing, we emphasize the influence of speculations on individuality, especially those of philosopher Alfred North Whitehead; the impact of cybernetics and information theory; and the contributions of clinical research into autoimmune disease that took place in Melbourne. We point to the influence of (...) local experimental and intellectual currents on Burnet’s work. Accordingly, this essay describes an arc distinct from most other tracings of Burnet’s conceptual development, which focus on his early bacteriophage research, his fascination with the work of Julian Huxley and other biologists in the 1920s, and his interest in North Atlantic experimental investigations in the life sciences. No doubt these too were potent influences, but they seem insufficient to explain, for example, Burnet’s sudden enthusiasm in the 1940s for immunological definitions of self and not-self. We want to demonstrate here how Burnet’s deep involvement in philosophical biology – along with attention to local clinical research – provided him with additional theoretic tools and conceptual equipment, with which to explain immune function. (shrink)

This paper is part of a project to rescue fashion from the social sciences and restore it to philosophy. In Kawamura's Fashion-ology, power is understood solely as legal or institutional power. The work's strictly sociological approach means that, though the two are rightly distinguished, clothing continues to haunt the logic of fashion, and there is little reflection as to why the system of clothing and not some other commodity lends its name to cultural neomania in general. What (...) is lacking is an analysis of the specific nature of fashion's empowerment and disempowerment of subjectivity. For this we need to enlist Foucault's genealogy of power, which also has the advantage of explaining strategic resistance to institutional power. However, Foucault's account is itself unsatisfying, because it avoids offering a theory of power while nevertheless assuming one. Foucault's critique of power quietly assumes Nietzsche's metaphysic of power, the incessant, embodied movement of self-empowering and self-overpowering. The corporeal subject of this self-production is nothing but surface, one that extends to the surrounds of its world, and the ceaseless rhythm of its embodied self-presentation is fashion. Barthes insightfully observes that, were its rhythm to be disrupted by cultural developments, the intense jostling that resulted would be the beginning of a new history of fashion. Yet there is incoherence to this claim, for if the rhythm of fashion were to turn into the chaos of arrhythmia, then we might instead conclude that fashion was at an end. Barthes' uncertain prospect of a new beginning points to what I call, following Heidegger, the powerlessness of fashion. This is not intended as criticism, since this powerlessness is nothing negative but rather that which exceeds the limits of fashion while giving rise to it. But on questions concerning the historicality of its beginning and the finality of its self-understanding, the sociology of fashion can have nothing to say. (shrink)

Everyday life is a central theme of Hong Kong poetry. Many Hong Kong poets use the quotidian as a starting point for the exploration of history and alternative imaginings. This mundane focus, unlike the colonial dreamscape of Hong Kong as an economic miracle, allows writers to reflect upon Hong Kong as a post-colonial and global space. The Hong Kong writer Natalia Chan examines the complex nature of everyday life within the space of the global and post-colonial city. Chan’s poems (...) deal with the essence of everydayness and use commodities to conjure up the vivacity of the urbanscape of Hong Kong. Unlike the political and economic discourse that is usually used to define Hong Kong, Chan’s work portrays Hong Kong as a city that offers the possibility of daily re-creation against the background of history. In this article, we will examine Chan’s use of the circulation of commodities in the global world and explore the way fashion becomes a point where high and popular culture, private and public domains, and local and global interests clash, negotiate, and fertilize each other. Chan’s works do not conform to the economic and prosperity discourse that has repressed Hong Kong; rather, she guides her readers to re-experience the everydayness of routines, to celebrate alternate ways of understanding the urbanscape, and to open themselves to the potentialities of art and the everyday. (shrink)

Being enmeshed in a digital environment, we daily produce internet-mediated texts – encompassing several different semiotic codes – accessible on a global scale. Posts on different networks usually contain hashtags, which can be understood as affordances or behavior opportunities. These affordances allow specific actions both from the part of the writer and the reader. They can also be “behavior triggers,” which invite certain behavior online or offline. Digital fashion communication experts should take into consideration these affordances to pursue their (...) goals in the activities related to marketing, promoting, creating engagement and communicating either about a brand or a brand item. While there is general research on reasons to hashtag and on the functions they perform, there is a gap in what hashtags “mean” and “do” in the fashion domain. The objectives of this paper are threefold: 1) to give an overview of the history of hashtags; 2) to present the affordances of hashtags, while creating a general table of affordances from the addresser’s perspective, based on the literature overview; 3) to perform a qualitative analysis of hashtags on Gucci official Twitter and Instagram accounts during a given time span and on other Gucci-related hashtags posted by common users. The choice of the brand is due to Gucci’s focus on active digital communication practices. Results can be valuable for both researchers and industry professionals involved in digital fashion communication. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

In lieu of an abstract, here is a brief excerpt of the content:History of Philosophy and History of Ideas PAUL OSKAR KRISTELLER THE TF.~MS "history of philosophy" and "history of ideas" are frequently associated in current public and professional discussions, and many statements seem to suggest that the two terms are more or less synonymous, or that the former term, being old-fashioned, might well be replaced with the latter which for many ears appears to have a (...) more fashionable and glamorous ring. Hence there arises the question what each of these terms really means, or what it should mean, and whether and to what extent it is justifiable to identify them with each other, to reduce the history of philosophy to the history of ideas, or to treat the former as a part or subdivision of the latter. I am not convinced that these questions can be answered through an appeal to ordinary usage since this usage is fluid and reflects at best the intellectual formulations and decisions of a remote or recent past. We may have reason to question the very validity of these decisions, and perhaps to suggest or make different decisions, and in case we are successful and obtain a reasonable amount of approval, these different decisions will be reflected in the ordinary usage of tomorrow, though not yet in that of today. The attempt to discuss the meaning and relationship of the history of philosophy and the history of ideas is obviously difficult and hazardous. It involves not only the discussion of such complicated notions as history and philosophy (and idea), but also the shifting balance of the intellectual globe that includes the continents or territories denoted by those terms, and even of the academic globe that purports to be, with varying success, its faithful image. In a short paper, I cannot hope to present an original or adequate discussion of these difficult problems, but merely try to raise a few questions which to my knowledge have not received sufficient attention and may be of interest to philosophers and historians. The history of philosophy has been of recurrent interest to philosophers and other scholars, especially in classical antiquity and again in the Renaissance period. It came to occupy a central place in European thought during the last century, especially in the wake of German idealism. Hegel recognized "history" as a major area of reality and of philosophical concern, as Vico and Herder had done before him, and thus left a living heritage not only to his followers down to Croce and Gentile, but also to Marx and his [1] 2 HISTORY OF PHILOSOPHY disciples, and to many other thinkers who cannot be called Hegelians. Hegel also did not conceive political history in isolation, but in his phenomenology and philosophy of the spirit came close to a concept of culture or civilization in which political and social institutions, religion and the arts, the sciences and philosophy are interrelated as manifestations of the same spirit and subject to the same "dialectical" laws of historical development. The vast progress which the historical disciplines made during the nineteenth and early twentieth centuries, not only in the field of political and economic history but in the history of languages and literatures, of the arts and religions, and of civilization in general was not influenced by Hegel's theories, but rather opposed to them. Yet this vast body of knowledge and of learning imposed itself as an epistemological problem to such thinkers as Dilthey, Rickert, and Cassirer. Finally, Hegel considered philosophical thought itself as dialectical, that is, in a certain sense as historical, and thus foreshadowed not only Mannheim's sociology of knowledge, or Croce's claim that philosophy and history are identical, but also Heidegger's conception of historicity as a basic aspect or dimension of human thought and being. Within such a framework, the history of philosophy occupies a significant and even a central position for the philosopher since it elucidates the basic stages through which philosophical thinking passed before it reached its present situation. Any attempt to grasp or answer our present philosophical prob- ]ems thus presupposes at least a general understanding of the historical developments which have prepared or produced these problems. In the English-speaking world, both... (shrink)

The self-fashioning of French Newtonianism Content Type Journal Article DOI 10.1007/s11016-010-9511-3 Authors Charles T. Wolfe, Unit for History and Philosophy of Science, University of Sydney, Sydney, NSW 2006, Australia David Gilad, Unit for History and Philosophy of Science, University of Sydney, Sydney, NSW 2006, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

This compendium of fifty essays by international philosophers examines history from the point of view of its cognate disciplines, historiography and the philosophy of history. The authors often use the terms history, the past, and historiography interchangeably. Essays are grouped in four broad categories: basic problems, major fields, philosophy and sub-fields of historiography, and classical schools and philosophers of history. The book provides useful insights, some dated by the fashion of postmodernism. The essays are largely (...) independent of one another, and may be read in any order. The volume will be of interest to philosophers, historians, and social scientists with a theoretical bent. (shrink)

“Why are millions of dollars worth of orders being left unpaid?”. With tweets like this questioning brands’ policies, activists advocating for sustainable fashion re-discuss material starting points that are assumed by fashion brands, who argue that they are sustainable because they care about their workers’ conditions. This paper argues that activists use tweets to open _subdiscussions on material starting points_ to engage citizens and consumers, re-discussing factual _data_ that brands take for granted, such as the fact that they (...) provide fair conditions for their garment workers. Activists justify their opening of subdiscussions, often through an argumentative pattern that includes an argument based on the _locus from effects to cause_. They argue that if there are negative effects, the brand cannot claim to care about the conditions of its workers. In discussing how subdiscussions are used by fashion activists, this paper also introduces a conceptualization of Twitter argumentation as a discussion that is not isolated, but is part of a polylogical argumentation that takes place in different venues. For this reason, the argumentation used in tweets is reconstructed as a response to a fashion brand’s communication campaigns around sustainability, which extend beyond the confines of Twitter. As an empirical illustration, this paper is based on the campaign targeting fashion retailer Primark; the dataset includes the brand’s website as well as activists’ tweets. (shrink)

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The year 2017 marks fifteen years for me as a fashion educator in Australia and the United States, nine of those in a full-time capacity. My research has focused on various facets of fashion and sustainability for almost as long. In that time many positive developments have occurred, among them, the 2015 Paris Agreement on climate action and the formation of the Sustainable Apparel Coalition in 2010, to name two. Yet an immense amount of urgent work remains. Wallace-Wells (...) presents an apocalyptic near-future caused by anthropogenic global warming;1 within two weeks the online version of the article became New York Magazine's most read in history. It is worth reading in tandem with Rockström et al.,2 as the latter... (shrink)

Drawing upon Roland Barthes’ posthumously published notebooks from his 1974 trip to China, in which he remarks upon the ‘complete absence of fashion. Clothing degree zero’, this article offers a ‘late’ reading of Barthes’ interest in fashion, suggested here as a form of writing. In reference to the late works, specifically Barthes’ penultimate lecture course on the Neutral and Travels in China, supplemented by François Jullien’s comments on Barthes’ trip to China (regarding the use of the term ‘blandness’), (...) as well as mention of Michelangelo Antonioni’s film Chung Kuo-Cina (which Barthes viewed with ‘methodological’ interest), it is possible to draw together a reading of fashion as a neutral form. As a final step, reflection is given to Susan Buck-Morss’ reading of ‘history as passing’, as discontinuous moments (whereby fashion is symptomatic of such transformations). Barthes’ writerly mode – which works upon incidental details (also found in the work of Antonioni) – is revealed to be a pertinent method. (shrink)

An entertaining and informative journey through the history of western philosophy from Aristotle to Bertrand Russell. It features both great ideas and the men and women behind them. Whether discussing Plato's Republic or Descartes 'Cogito Ergo Sum', Jane O'Grady brings to life the ideas that have shaped our world and explains them in a lively, accessible fashion. This illustrated guide is an excellent starting point for everyone interested in philosophy.

However widely--and differently--Jacques Derrida may be viewed as a "foundational" French thinker, the most basic questions concerning his work still remain unanswered: Is Derrida a friend of reason, or philosophy, or rather the most radical of skeptics? Are language-related themes--writing, semiosis--his central concern, or does he really write about something else? And does his thought form a system of its own, or does it primarily consist of commentaries on individual texts? This book seeks to address these questions by returning to (...) what it claims is essential history: the development of Derrida's core thought through his engagement with Husserlian phenomenology. Joshua Kates recasts what has come to be known as the Derrida/Husserl debate, by approaching Derrida's thought historically, through its development. Based on this developmental work, Essential History culminates by offering discrete interpretations of Derrida's two book-length 1967 texts, interpretations that elucidate the until now largely opaque relation of Derrida's interest in language to his focus on philosophical concerns. A fundamental reinterpretation of Derrida's project and the works for which he is best known, Kates's study fashions a new manner of working with the French thinker that respects the radical singularity of his thought as well as the often different aims of those he reads. Such a view is in fact "essential" if Derrida studies are to remain a vital field of scholarly inquiry, and if the humanities, more generally, are to have access to a replenishing source of living theoretical concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Staging History:Aesthetics and the Performance of MemoryBelarie Zatzman (bio)I want to talk about a certain time not measured in months and years. For so long I have wanted to talk about this time, and not in the way I will talk about it now, not just about this one scrap of time. I wanted to, but I couldn't. I didn't know how. I was afraid, too, that this (...) second time, which is measured in months and years, had buried the other time under a layer of years, that this second time had crushed the first and destroyed it within me. But no, today, digging around in the ruins of memory, I found it fresh and untouched by forgetfulness. This time was measured not in months but in a word—we no longer said "in the beautiful month of May," but "after the first 'action' or the second or right before the third. We had different measures of time, we different ones, always different, always with that mark of difference....—Ida Fink, A Scrap of Time and Other Stories1What are the boundaries of remembering? How do we make manifest the ruins of memory? How do we enter that time not measured in months and years? How do those not directly affected by the Holocaust encounter its meaning? How do we move toward the performance of memory with youth as co-creators, when we must be awake to the act of staging histories "both remembered and not remembered, transmitted and not transmitted"?2 In designing aesthetic practices of remembrance in the present, we face both the specificity of time and the collapse of time as a way of knowing. This paper articulates the design of a project, titled "Wrapped in Grief," in constituting personal and public memory in the aesthetic space made available by arts education. How can our drama work "capture the aesthetic of memory, its instability and its contingency"?3 "Wrapped in Grief" responds [End Page 95] to these questions about the performance of memory by articulating a process for constructing and rehearsing our own identities among the narratives of others, present and past. Contemporary research examining memory and memorial underscores the fact that in provoking history as an act of remembrance for a new generation, we are narrating a sense of self. The paradox of re-telling these personal and public histories is that we are playing out that which cannot be represented. In this sense, drama education offers an aesthetic frame that allows us the possibility "to be the story and to repeat its unrepeatability."4"Wrapped in Grief" was produced with youth between the ages of twelve and sixteen years old. As a Holocaust memorial project, it was designed as a scaffolded pedagogy in which historical contexts became the foundation informing all of the exploration that followed. First, young people created tableaux to locate particular events during the Holocaust; for example, Kristallnacht (9-10 November 1938), the Warsaw Ghetto uprising (19 April-16 May 1943), the book burnings of 10 May 1933, and the White Rose movement (public demonstrations against the Nazi regime by a network of students and faculty in Germany, 1942-43). The second stage of this arts education project asked participants to work on the identification of loss in their own lives, in juxtaposition to the historical archive with which they had been presented. "Wrapped in Grief" culminated in the staging of a mise-en-scene of memory, in which the young people fashioned large-scale sculptures as an artifact of their experience of memorial.The aesthetic frame that circumscribes the design of this "Wrapped in Grief" structure is threefold, and it takes up the challenge of staging history by (1) creating narrative relationships between diverse texts—autobiographical, legal, documentary; scripts, photographs, visual art forms; diary, memoir, survivor testimony; (2) exploring the relationship between the range of source materials and the students' personal and artistic reflections about them through writing, images, improvisation, tableaux, movement, scene study, or visual art activities; and (3) considering our relationship not only to the Holocaust, itself, but to how it shapes our lives in the present. As such, "Wrapped in Grief" stands... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:604 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Alix Genter Appearances Can Be Deceiving: Butch-Femme Fashion and Queer Legibility in New York City, 1945–1969 The 1956 image of Sunny and Doris (figure 1) is a typical one when conjuring images of butch-femme lesbianism in the post-World War II era: a femme looking glamorous in a dress, makeup, and heels, and a dapper butch sporting (...) a man’s suit and tie and a slick D.A. haircut with a pompadour and one casual curl in front.1 The butch’s masculine appearance and the sharp gendered contrast between the two make their queerness highly legible, a standard feature in images of postwar butch-femme lesbians in both the public and scholarly imagination.2 Indeed, lesbian visibility at midcentury was almost entirely dependent on gender transgressions in the form of “mannishness,” demarcating butches as the public face of lesbianism—a role that scholars such as Joan Nestle, Elizabeth Lapovsky Kennedy, Madeline Davis, and Donna Penn argue had powerful political implications. Butches not only challenged normative conceptions of gender and claimed lesbian social space, they also defiantly announced their queerness through their looks, thereby expressing women’s sexual autonomy and acting as vehicles for introducing others to gay life. Alongside them, femmes, while generally undetectable by 1. D.A. refers to “duck’s ass,” a popular hairstyle from the 1950s. The hair was slicked back into a point at the nape of the neck that resembled a duck’s tail. 2. In addition to dress and appearance, postwar butch-femme lesbianism was defined by gendered behaviors and mannerisms, and by roles in courtship, relationships, and sex. Alix Genter 605 themselves, proclaimed their own lesbianism and contributed to these modes of visual resistance.3 In these analyses, femmes are incorporated into lesbian rebellion by association with butches—their willingness to stand beside butches and be read as queer and to provide love and support for their partners who bore the brunt of homophobic abuse because of their overt gender expression. Butch visibility remains the foundation of butch-femme resistance, and legible butch masculinity remains an idealized icon of subversive lesbian power. But what if butches in postwar America were not as visible as commonly believed? Consider Miriam Wolfson and May Brown, for example (figure 2), both butches in New York City in the 1950s. Wolfson sees herself as a shy-but-aggressive butch who has always felt masculine, and she sees her friend May Brown as “the butch of the century.”4 Yet, the image shows two women in skirts with feminine hairdos and hints of lipstick. Photographs such as this one demonstrate the visual disconnect between what one might expect butchness to look like and what it did look like for some women during this era. While New York City’s butches certainly employed the classic suit-and-tie and jeans-and-T-shirt looks, they also conveyed their identities through alternate means that included clandestine codes and plays on women’s fashions. In doing so, they offered a range of ways of interpreting butchness in their everyday lives that did not necessarily rely on the men’s clothing and styling that made lesbians visible in larger US culture. This article interrogates the relationship between masculine style and lesbian self-presentation during the postwar period. Queer legibility could enable entrance into lesbian communities and attract one’s next lover as well as provoke hostility, violence, and arrest. In this context, appearance carried tremendous significance, and butches and femmes employed diverse strategies to both convey and conceal their queerness, 3. See Joan Nestle, “Butch-Femme Relationships: Sexual Courage in the 1950s,” in her A Restricted Country, 3rd ed. (San Francisco: Cleis Press, 2003), 92–102; Elizabeth Lapovsky Kennedy and Madeline D. Davis, Boots of Leather, Slippers of Gold: The History of a Lesbian Community (New York: Routledge, 1993); Donna Penn, “The Meanings of Lesbianism in Postwar America,” in Gender and American History since 1890, ed. Barbara Melosh (New York: Routledge, 1993), 106–24. 4. Miriam Wolfson, interview with author, New York, NY, July 1, 2010. 606 Alix Genter knowing that the consequences varied by time, place, and... (shrink)

This article argues for a conception of the history of ideas that treats philosophy historically while avoiding sociological reductionism. On the view presented here, philosophical problems characteristically arise from a conflict of commitments, at least some of which have roots in wider forms of life and ways of seeing the world. In bringing such 'doxa' to our attention, the history of ideas, it is argued, plays a role that is both genuinely historical and, at the same time, contributes (...) to philosophical argument in making these commitments available to scrutiny. The article defends the permissibility of the apparent 'anachronism' involved in such interpretations. Although they may violate the 'principle of attribution' advocated by Quentin Skinner in his seminal 'Meaning and Understanding in the History of Ideas', that principle should not be accepted. The ascription of authorial intentions does indeed form an important part of interpretation, but intentions should not be understood either in a 'Cartesian' fashion (as recapturing what was 'in the author's mind') or in the modified version of Austinian speech-act theory advocated by Skinner. (shrink)

Although maybe not the most fashionable area of study today, French science has a secure place in the classical canon of the history of science. Like the Scientific Revolution and Italian science at the beginning of the seventeenth century, French science, particularly eighteenth-century and early nineteenth-century French science, remains a safe, albeit conservative, bet in terms of history-of-science teaching and research. The classic trope of the passage of the flame of European science from Italy to Britain and France (...) in the seventeenth and then eighteenth centuries is well established in overviews of the field. Specializing in research in this area is not, therefore, unreasonable as a career choice if you are aiming for a history-of-science position in Europe or even in the US. The Académie des sciences, with its state-sponsored model of collective research, provides a striking counterpoint to the amateur, more individualistic functioning of London's Royal Society – a foretaste of modernity in the institutionalization of science. Clearly naive, such a representation of French science serves as a good initial framework on which to hang half a century of critical historical research. If proof of the continued interest for eighteenth-century French science is needed, we can cite the Web-based project around Diderot and d'Alembert's Encyclopédie currently in progress under the auspices of the French Academy of Sciences. The large number of publications in the history of French science make it unreasonable to pick out one or two for special attention here. But what about history of science in France and the academic community that practises this discipline today? Here, I offer a very personal view and analysis of this community, trying to underline contrasts with the history of science in the UK and the US. (shrink)

Although maybe not the most fashionable area of study today, French science has a secure place in the classical canon of the history of science. Like the Scientific Revolution and Italian science at the beginning of the seventeenth century, French science, particularly eighteenth-century and early nineteenth-century French science, remains a safe, albeit conservative, bet in terms of history-of-science teaching and research. The classic trope of the passage of the flame of European science from Italy to Britain and France (...) in the seventeenth and then eighteenth centuries is well established in overviews of the field. Specializing in research in this area is not, therefore, unreasonable as a career choice if you are aiming for a history-of-science position in Europe or even in the US. The Académie des sciences, with its state-sponsored model of collective research, provides a striking counterpoint to the amateur, more individualistic functioning of London's Royal Society – a foretaste of modernity in the institutionalization of science. Clearly naive, such a representation of French science serves as a good initial framework on which to hang half a century of critical historical research. If proof of the continued interest for eighteenth-century French science is needed, we can cite the Web-based project around Diderot and d'Alembert's Encyclopédie currently in progress under the auspices of the French Academy of Sciences. The large number of publications in the history of French science make it unreasonable to pick out one or two for special attention here. But what about history of science in France and the academic community that practises this discipline today? Here, I offer a very personal view and analysis of this community, trying to underline contrasts with the history of science in the UK and the US. (shrink)

Throughout his career the geographer, and first reader in the ‘new’ geography at the University of Oxford, Halford Mackinder (1861–1947) described his discipline as a branch of physics. This essay explores this feature of Mackinder's thought and presents the connections between him and the Royal Institution professor of natural philosophy John Tyndall (1820–1893). My reframing of Mackinder's geography demonstrates that the academic professionalization of geography owed as much to the methods and instruments of popular natural philosophy and physics as it (...) did to theories of Darwinian natural selection. In tracing the parallels between Tyndall and Mackinder, and their shared emphasis upon the technology of the magic lantern and the imagination as tools of scientific investigation and education, the article elucidates their common pedagogical practices. Mackinder's disciplinary vision was expressed in practices of visualization, and in metaphors inspired by physics, to audiences of geographers and geography teachers in the early twentieth century. Together, these features of Mackinder's geography demonstrate his role as a popularizer of science and extend the temporal and spatial resonance of Tyndall's natural philosophy. (shrink)

Peirce remarks on several occasions in the 1790s on affinities between his evolutionary metaphysics and Schelling's Idealism, behind which, he avers, lies ‘the monstrous mysticism of the East’. What are these affinities? Why are they affinities with Schelling rather than with Hegel? And what is the mysticism in question? I argue that Schelling, like Peirce but unlike Hegel, is committed to evolution, not only across species boundaries, but also across the boundary between the inorganic and the organic. Moreover, Schelling, like (...) Peirce but unlike Hegel, embeds this account of evolution in an account of the evolution of God through love. The monstrous mysticism of the East, I argue, is Lurianic kabbalah, to which Schelling is demonstrably indebted, and which is committed to an evolutionary theism on which is based, if not an account of natural evolution, an account of reincarnation as a mechanism by which life-forms progress from inorganic to organic bodies as they develop their consciousness. Publicized by.. (shrink)

The history of American medical ethics is a notoriously unwieldy field that encompasses an enormous amount of complex material. No single book can realistically analyze all of its dimensions in a genuinely scholarly fashion. But Robert Baker, one of the nation’s most distinguished professors in that field, has now provided the rest of us with an immensely helpful survey of one of its most important aspects: the evolution of what he terms “the formalized statements of medical morality” (164). (...) Much of Before Bioethics: A History of American Medical Ethics from the Colonial Period to the Bioethics Revolution traces, in an almost genealogical manner, medicine’s shifting behavioral codes and ethical systems from .. (shrink)

This book is a unique modern analysis of the genealogy of morals. Accessible and full of details about ethical trends and the catalysts which shape them, it encompasses an amazing breadth of information, taking examples from virtually every culture and through every historical era. The provocative theme is that morality is as subject to fashion and the whims of the rich and powerful in society as any other aspect of human life. The common thread is the existence at certain (...) times of moral codes which allow, perhaps even encourage such actions and beliefs. This compelling study offers an insight into the complex relationship between what a society believes and how it behaves. Driven by envy, idolatry, greed, racism, megalomania or lust, there is no end to the creativity of sinners and no greater challenge than to understand what we mean by 'sin'. (shrink)

During the first quarter of the twentieth century, the French philosopher Henri Bergson became an international celebrity, profoundly influencing contemporary intellectual and artistic currents. While Bergsonism was fashionable, L. Susan Stebbing, Bertrand Russell, Moritz Schlick, and Rudolf Carnap launched different critical attacks against some of Bergson’s views. This book examines this series of critical responses to Bergsonism early in the history of analytic philosophy. Analytic criticisms of Bergsonism were influenced by William James, who saw Bergson as an ‘anti-intellectualist’ ally (...) of American Pragmatism, and Max Scheler, who saw him as a prophet of Lebensphilosophie. Some of the main analytic objections to Bergson are answered in the work of Karin Costelloe-Stephen. Analytic anti-Bergsonism accompanied the earlier refutations of idealism by Russell and Moore, and later influenced the Vienna Circle’s critique of metaphysics. It eventually contributed to the formation of the view that ‘analytic’ philosophy is divided from its ‘continental’ counterpart. (shrink)

In this engaging sequel to Rethinking History , Keith Jenkins argues for a re-figuration of historical study. At the core of his survey lies the realization that objective and disinterested histories as well as historical 'truth' are unachievable. The past and questions about the nature of history remain interminably open to new and disobedient approaches. Jenkins reassesses conventional history in a bold fashion. His committed and radical study presents new ways of 'thinking history', a new (...) methodology and philosophy and their impact on historical practice. This volume is written for students and teachers of history, illuminating and changing the core of their discipline. (shrink)

This article investigates the differential structure and representation of time in memory and history. It examines two moments in Jewish historical thought--in the Middle Ages, and in works written within and after the Holocaust--and demonstrates the fundamentally liturgical nature of Jewish historical memory in selected texts from these two periods. Following the groundbreaking work of Yerushalmi, it seeks to demonstrate that for Jews, historical experience is incorporated into the cyclical reenactment of paradigmatic events in Jewish sacred ritual. Recent or (...) contemporary experiences acquire meaning only insofar as they can be subsumed within Biblical categories of events and their interpretation bequeathed to the community through the medium of Scripture, that is to say, only insofar as they can be transfigured, ritually and liturgically, into repetitions and reenactments of ancient happening. In such liturgical commemoration, the past exists only by means of recitation; the fundamental goal of such recitation is to make it live again in the present, to fuse past and present, chanter and hearer, into a single collective entity. History, in the sense that we understand it to consist of unique events unfolding within irreversible linear time, is absorbed into cyclical, liturgical memory.This article argues that the question of Jewish history--both medieval and post-Holocaust--poses in a compelling fashion the question of the relationship between memory and history more generally, and serves to contest the current tendency in academic historiography to collapse history into memory. It claims that to the extent that memory "resurrects," " re-cycles," and makes the past "reappear" and live again in the present, it cannot perform historically, since it refuses to keep the past in the past, to draw the line, as it were, that is constitutive of the modern enterprise of historiography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The History of Ideas:Precept and Practice, 1950–2000 and BeyondAnthony GraftonIn the middle years of the twentieth century, the history of ideas rose like a new sign of the zodiac over large areas of American culture and education. In those happy days, Dwight Robbins, the president of a fashionable progressive college, kept "copies of Town and Country, the Journal of the History of Ideas, and a small (...) magazine—a little magazine—that had no name" on the table in his waiting room. True, Robbins did not exist: he was the fictional president of Randall Jarrell's equally fictional Benton, a liberal arts dystopia where "[h]alf of the college was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe."1 But Jarrell's notation of the Journal's status was accurate nonetheless.2The Journal, in the twenty years or so after its foundation, attracted attention from many quarters, some of them unexpected. And it occupied a unique position, between the technical journals of history and philology, [End Page 1] each firmly identified with a discipline, in which professional humanists normally published their results, and the quarterlies, often based not in disciplines but in liberal arts colleges and universities, which cultivated a mixed readership to which they offered fiction and poetry as well as essays. By contrast with both, the JHI fifty years ago ran on a rich mix of technical articles and wide-ranging essays that could easily have attracted the attention of a sophisticated administrator—or at least made a good impression on his coffee table. Bliss was it to be a subscriber in that happy day when the JHI glowed with something of the luster that haloed Representations in the 1980s and Critical Inquiry more recently.3The main reason for the Journal's prominence was that it represented a new field, appealingly located between disciplines as the Journal was between other sorts of periodical. In its postwar heyday, the history of ideas was not a dim subdivision of history, itself a discipline whose luster has worn off with time, but an intellectual seismic zone where the tectonic plates of disciplines converged and rubbed against one another, producing noises of all sorts. In recent years, it has sometimes seemed impossible, even to the best informed observers, that intellectual history, or the history of ideas, ever enjoyed this sort of prestige. A quarter century ago, Robert Darnton surveyed the state of intellectual and cultural history in the United States in an informative and influential essay. Using a language more resonant of the historical President Carter than the fictional President Robbins, Darnton detected "malaise" everywhere he looked. In the fifties, he noted, intellectual historians had seen "their discipline as the queen of the historical sciences. Today she seems humbled." True, desperate cries for help were not yet called for. Historians continued to write histories of ideas, and even to cast them in the technical languages of A.O. Lovejoy or Perry Miller: "one still finds 'unit-ideas' and 'mind' among the trendier terms." The just-published Dictionary of the History of Ideas, moreover, offered a vast selection of Lovejoyan formal analyses, systematically organized, to the reading public.4 [End Page 2]But for the last ten years, Darnton argued, younger scholars, especially graduate students, had been scrambling over the gunwales of the good ship History of Ideas, abandoning the effort to converse abstractly with the mighty dead, and clambering in hordes over the side of a newer vessel, Social History, which boasted a Hogarthian passenger list of heretics, misfits, and military women. At the level of the dissertations written in history departments, social history was outpacing intellectual, by a proportion of three to one. At the level of the scholarly journal, too, social history had forged ahead, though by a smaller margin. In the murkier, but no less significant, world of opinion, finally, the decline of intellectual history appeared clearest. History of ideas no longer occupied the cutting edge in young scholars' mental vision of their discipline.Social history, after all, had captured the minds of a generation—or a large percentage of it—in the 1960s, thanks both to the power of... (shrink)

SummaryThe relationship between travel, travel narrative, and the enterprise of natural history is explored, focusing on activities associated with the early Royal Society. In an era of expanding travel, for colonial, diplomatic, trade, and missionary purposes, reports of nature's effects proliferated, both in oral and written forms. Naturalists intent on compiling a comprehensive history of such phenomena, and making them useful in the process, readily incorporated these reports into their work. They went further by trying to direct the (...) course of travel to suit their ends, but the complex story of how travel influenced the direction of study cannot be told without acknowledging the influence of objects acquired in a random fashion, arriving in a miscellany off returning ships. Travel writing complemented the activity of documenting nature's history, supplementing the range of available testimony. Such accounts of travel became an accepted source for information, cross-references, and queries, ostensibly eliminating error and advancing knowledge. The difficulty of identifying and classifying objects added to the importance of these reports; furthermore, the scope for attending to prodigies created the grounds for accepting tales of marvels and monsters. The fluid exchange between travel, narrative, and natural history often masked rather than exposed problems of belief, testimony, and evidence, perpetuating an economy of error in which knowledge was both advanced and retarded. (shrink)

Hegel wrote this classic as an introduction to a series of lectures on the "philosophy of history"--a novel concept in the early 19th century. With this work, he created the history of philosophy as a scientific study. He reveals philosophical theory as neither an accident nor an artificial construct, but as an exemplar of its age, fashioned by its antecedents and contemporary circumstances, and serving as a model for the future. The author himself appears to have regarded this (...) book a popular introduction to his philosophy as a whole, and it remains the most readable and accessible of all his philosophical writings. Translation by J. Sibree. (shrink)

"No philosophical dictum is better known than Descartes's assertion about the intimate relation between thinking and existing. What remains unknown is how we are to understand the 'I' who thinks and exists. This book is about the ways that the concept of an 'I' or a 'self' has been developed and deployed at different times in the history of Western Philosophy. It also offers a striking contrast case, the 'interconnected' self, who appears in some expressions of African Philosophy. Appealing (...) to philosophy to illuminate the concept of a 'self' may seem unnecessary. Anyone who can read this book is a self, so why can we not just tailor a concept to fit what we already know about ourselves? This objection has considerable force and provides a constraint on efforts to fashion a self-concept. Although there is a sense of 'self-knowledge' in which it is said to require a lifetime of serious effort to achieve, what is at issue here is simply knowing that one is a self"--. (shrink)

The attitudes that characterize the contemporary “neuro-turn” were strikingly commonplace as part of the self-fashioning of social identity in the biographies and personal papers of past neurologists and neuroscientists. Indeed, one fundamental connection between nineteenth- and twentieth-century neurology and contemporary neuroscience appears to be the value that workers in both domains attach to the idea of integration, a vision of neural science and medicine that connected reductionist science to broader inquiries about the mind, brain, and human nature and in so (...) doing supposedly resolved once and for all questions germane to the human sciences, humanities, and arts. How those attitudes were produced and reproduced first in neurology and then in neuroscience; in what way they were constructed and disciplined, thereby eventuating in the contested sciences and medicines of the mind, brain, and nervous system; and even how they garnered ever-wider contemporary purchase in cultures and societies are thus fascinating problems for historians of science and medicine. Such problems shed light on ethics, practices, controversies, and the uneasy social relations within those scientific and medical domains. But more to the point of this essay: they also account for the apparent epistemological weight now accorded “the neuro” in our contemporary moment. They thus illuminate in a rather different way why historians have suddenly discovered the value of “the neuro.”. (shrink)

There are few sartorial ensembles as heavily signified as masculine as a suit. This article focuses on the suit within queer fashion digital cultures and spaces to explore how butch of colour digital fashion suits up to offer us different ways to think about masculinity. Intervening in the erasure of women of colour in histories of fashion – including menswear – and histories of sexuality – butch, dapper, tomboy, dandy – I argue that butch digital fashion (...) works as a site and composition of flesh, fabric and feeling that reworks masculinity as a project of embodiment. I look at three interwoven dimensions of butch digital fashion – aesthetic process, texture as feeling and spatial imaginations – attending to the themes of fantasy, desire and pleasure. I situate butch within and between fashion studies and media studies to offer butch as a relation, practice, orientation and site of embodiment to think about being and becoming, about the body politics of space and feeling, as matters of race, sexuality, class and gender – and the materialities of race, sexuality, class and gender, mediated by the global, and as the global by the digital. Digital butch fashion is, at once, a visual culture, a creative visual space, a resource of queer fantasy and an aesthetic process. It is messy, tense and fraught with the politics of race, colonialism and class, yet at the same time, dense with possibility, pleasure and eroticism. Butch of colour fashion offers frames and forms for rethinking and remaking masculinity as a sign of a body, as a category of personhood, as a set of practices and feelings made coherent by processes of embodiment. (shrink)

History of science and philosophy of science have experienced a somewhat turbulent relationship over the last century. At times it has been said that philosophy needs history, or that history needs philosophy. Very occasionally, something entirely new is said to need them both. Often, however, their relationship is seen as little more than a marriage of convenience. This article explores that marriage by analyzing the citations of over 7,000 historians, philosophers, and sociologists of science. The data reveal (...) that a small but tightly-knit bridge does exist between the disciplines, and raises suggestions about how to understand that bridge in a more nuanced fashion. (shrink)