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1
The shadow of the Galilean : The quest of the historical Jesus in narrative form. Philadelphia : Fortress Press, 1987.
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2
Theissen, Gerd. The shadow of the Galilean : The quest of the historical Jesus in narrative form. London : SCM Press, 1987.
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3
The shadow of the Galilean : The quest of the historical Jesus in narrative form. Minneapolis : Fortress Press, 2007.
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4
Der Schatten des Galiläers : Historische Jesusforschung in erzählender Form. München : Kaiser, 1986.
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The God of Jesus : The historical Jesus and the search for meaning. Harrisburg, Pa : Trinity Press International, 1998.
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Ghini, Agnese. Le forme della tradizione in architettura : Esperienze a confronto. Milano : F. Angeli, 2005.
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Trials of authorship : Anterior forms and poetic reconstruction from Wyatt to Shakespeare. Berkeley : University of California Press, 1990.
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Kazakova, Gandalif. The problem of formation of romantic historicism and rehabilitation of medieval culture in the creative heritage of F. R. de Chateaubriand. ru : INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1044190.
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The monograph is devoted to the literary and scientific heritage of the famous French writer, historian, philosopher, thinker, diplomat and statesman F. R. de Chateaubriand, whose scientific works were practically unknown to the Russian reader for many decades. Being the founder of French romanticism and laying the main elements of this direction of culture, F. R. de Chateaubriand nevertheless causes numerous disputes and questions. The monograph shows the process of formation of the writer's romantic worldview on the example of his early works, which still retain traces of the literature of the XVIII century and already carry new romantic trends of the XIX century. The author also presents the facts of the writer's biography and analyzes a number of his historical works devoted to medieval France. From the Renaissance until the end of the XVIII century, one of the elements of medieval architecture and Christian religion-Gothic architecture — was perceived as something negative, barbaric, rude, completely inconsistent with the aesthetics of the XVI — XVIII centuries. F. R. de Chateaubriand was one of the first researchers who discovered the beauty of Gothic churches and the color of national history to the mass reader at the turn of the XVIII—XIX centuries. The rehabilitation of Gothic architecture was accomplished by F. R. de Chateaubriand in his Treatise "the genius of Christianity". The famous "forest theory" of the origin of Gothic helped to "remove" negative assessments of the middle Ages and influenced the formation and development of romanticism both in France and in other European countries. It was F. R. de Chateaubriand's idea of the relationship between medieval architecture and Christian consciousness that influenced all the subsequent development and formation of the history of medieval art. For a wide range of readers interested in the history of literature.
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Theissen, Gerd. The Shadow of the Galilean : The Quest of the Historical Jesus in Narrative Form. Fortress Press, 2007.
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10
Theissen, Gerd. The shadow of the Galilean : The quest of the historical Jesus in narrative form, translated from the German by John Bowden.. S.C.M.P., 1987.
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11
Keener, Craig S. Christobiography : Memory, History, and the Reliability of the Gospels. Eerdmans, 2019.
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Zachhuber, Johannes. The Historical Turn. Sous la direction de Joel D. S. Rasmussen, Judith Wolfe et Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.38.
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This chapter considers historicization as a major paradigm of Christian thought in the nineteenth century. Early historicism saw history and religion as mutually related, and history as having a religious dimension. F. C. Baur created a monumental work of theological historicism. Yet tensions were visible in Baur’s oeuvre: between idealist and positivist interpretation of history; between historical criticism and religious faith; between history of process and the historical appreciation of individuals. These tensions increased among his students for whom historicism had become the master discourse whose rules were binding for ‘scientific’ theology as well. In this situation, a reconfiguration of theological historicism occurred in the work of Albrecht Ritschl and theology continued to work within the historicist paradigm. Only the more fundamental criticism directed by Franz Overbeck and Friedrich Nietzsche against the principles of historicism and its use in theology led the eventual abandonment of historicist theology.
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Jameson, Fredric. Ancients and the Postmoderns : On the Historicity of Forms. Verso Books, 2017.
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Archetypes and Historicity : Paintings and Other Radical Forms 1995-2007. Silvana, 2012.
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Sizemore, Michelle. Future Passing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190627539.003.0007.
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The conclusion proposes an alternative to historicism informed by the growing body of work in nineteenth-century American time studies. New approaches need to explore temporalities and temporal frameworks different from the standard linear chronology employed in historicist criticism. Drawing on Catharine Sedgwick’s The Linwoods, the conclusion advances one such temporal framework (future-passing) and a complementary mode of reading (anticipatory reading) as directions for historicist revisionism. Both future-passing and anticipatory reading emerge from the genre of historical romance, offering possibilities for genre study, and more ambitiously, for literary history.
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Lewis, Cara L. Dynamic Form. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749179.001.0001.
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This book traces how intermedial experiments shape modernist texts from 1900 to 1950. Considering literature alongside painting, sculpture, photography, and film, the book examines how these arts inflect narrative movement, contribute to plot events, and configure poetry and memoir. As forms and formal theories cross from one artistic realm to another and back again, modernism shows its obsession with form—and even at times becomes a formalism itself—but as the book states, that form is far more dynamic than we have given it credit for. Form fulfills such various functions that we cannot characterize it as a mere container for content or matter, nor can we consign it to ignominy opposite historicism or political commitment. As a structure or scheme that enables action, form in modernism can be plastic, protean, or even fragile, and works by Henry James, Virginia Woolf, Mina Loy, Evelyn Waugh, and Gertrude Stein demonstrate the range of form's operations. Revising three major formal paradigms—spatial form, pure form, and formlessness—and recasting the history of modernist form, the book proposes an understanding of form as a verbal category, as a kind of doing. It thus opens new possibilities for conversation between modernist studies and formalist studies and simultaneously promotes a capacious rethinking of the convergence between literary modernism and creative work in other media.
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Franko, Mark. Introduction. Sous la direction de Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.1.
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The Introduction to this handbook covers the broad themes and positions of the chapters without engaging specifically with the argument of any one chapter. It begins with a discussion of an early example of reenactment in dance, that of Susanne Linke’s work on Dore Hoyer’s Affectos Humanos in 1988. It analyzes the significance of Hoyer’s identity in German modern dance of the mid-twentieth century to the emergence of reenactment per se. The author theorizes reenactment as a practice of “asymmetrical historical temporalities” and develops the distinction between historicity and temporality. There is a difference between the way reenactment is handled in discourse on art and performance and in dance. Drawing upon the work of François Hartog and Paul Ricoeur, the Introduction concludes with a discussion of regimes of historicity and Ricoeurs’s concept of document as trace, and debates the idea that reenactment in dance is a form of historical knowledge.
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Glaser, Ben, et Jonathan Culler, dir. Critical Rhythm. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282043.001.0001.
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This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or definable terms. Rhythm in these essays is at once a defamiliarizing aesthetic force and an unstable concept. It is a key term through which Romantic, Modern, and contemporary literary theory define form, either in conversation with or opposition to meter. It has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice if not identity as such. Through their exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form sorted out through scansion, description, and taxonomy and roped back into interpretation. Pressing beyond the poetry handbook’s isolated descriptions of technique as well as inductive declarations of what rhythm “is,” each essay builds toward methodological inquiry about what it means to think rhythm. With contributions from many of the foremost scholars in the fields of prosody and poetics, Critical Rhythm develops new critical models for understanding how rhythm, in light of its historicity and generic functions, permeates poetry’s composition, formal objectivity, circulation in national and other publics, performances, and present critical horizons.
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Ruin, Hans. Historicity and the Hermeneutic Predicament. Sous la direction de Dan Zahavi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198755340.013.28.
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The chapter presents the topic of “historicity” (Geschichtlichkeit) as a core concern for phenomenological thinking in the intersection with hermeneutics. It is first coined as a philosophical term by Dilthey and Yorck von Wartenburg as a way to capture the unique way in which humans exist historically and belong to history. Through their correspondence published posthumously in 1923 it enters the orbit of Heidegger’s existential phenomenology, as he quotes extensively from these letters in Being in Time. For Heidegger, historicity was the key to transforming Husserlian phenomenology into hermeneutical ontology. In his reappraisal of hermeneutic thinking, Gadamer also locates historicity at the center of his magnum opus Truth and Method. The chapter also shows how Husserl was a thinker of historicity. This is brought out in particular in Derrida’s early interpretations of Husserl, where the deconstructive approach emerges literally from the problem of the historicity of ideal objects.
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Villegas, Abelardo. The Problem of Truth (1960). Traduit par Carlos Alberto Sánchez. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190601294.003.0019.
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This text is the conclusion to Abelardo Villegas’s seminal work, La filosofía de lo mexicano, which does not dismiss the philosophy of lo mexicano outright. His conflict is with the method underscoring that philosophical project: historicism. Historicism, or the view that truth is dependent on history, offers Mexican philosophers an opportunity to articulate their philosophies as historical beings, thus contributing historical difference to the philosophical conversation. However, historicists face a fundamental “aporia,” as their project calls for defining an essentially historical being (the Mexican) using ahistorical categories (e.g. solitude, accidentality, melancholy, etc.). Thus, Villegas chastises Emilio Uranga for his “essentialism,” for looking for essences while grounding his approach in history. Villegas concludes that a philosophy of lo mexicano is possible—not one grounded on the uniqueness of the Mexican experience, but one that grounds the possibility of communicating that uniqueness to other peoples and other times.
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Anderson, Greg. The Realness of Things Past. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190886646.001.0001.
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The book proposes a new paradigm of historical practice. It questions the way we conventionally historicize the experiences of non-modern peoples, western and non-western, and makes a case for an alternative. It shows how our standard analytical devices impose modern, dualist metaphysical conditions upon all non-modern realities, thereby authorizing us to align those realities with our own modern ontological commitments, fundamentally altering their contents in the process. The net result is a practice that homogenizes the past’s many different ways of being human. To produce histories that are more ethically defensible, more philosophically robust, and more historically meaningful, we need to take an ontological turn in our practice. We need to cultivate a non-dualist historicism that will allow us to analyse each past reality on its own ontological terms, as a more or less autonomous world unto itself. The work is divided into three parts. To highlight the limitations of conventional historicist analysis and the need for an alternative, Part One (chapters 1-5) critically scrutinizes our standard modern accounts of the politeia (“way of life”) of classical Athens, the book’s primary case study. Part Two (chapters 6-9) draws on a wide range of historical, ethnographic, and theoretical literatures to frame ethical and philosophical mandates for the proposed ontological turn. To illustrate the historical benefits of this alternative paradigm, Part Three (chapters 10-16) then shows how it allows us to produce an entirely new and more meaningful account of the Athenian politeia. The book is expressly written to be accessible to a non-specialist, cross-disciplinary readership.
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Stutesman, Drake. Do you see what I mean ? : An "inner law of form" in Susan Howe's historicism. 2001.
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Lurie, Peter. “Orders from the House”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0003.
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This chapter takes its title from an essay about The Shining by Fredric Jameson, “Historicism in the Shining,” which, for all its acuity about the film’s awareness of economic history, demonstrates a notable blind spot around issues of race and the violence subtending America’s past in regions like the U.S. west. It shows a troubling alliance between Jack Torrance’s will to mastery and director Stanley Kubrick’s unique wielding of cinematic omniscience, suggesting the film’s awareness of the frontier as both a space of supposed white sovereignty and aesthetic spectacle. It employs key visual tropes and verbal details as well as the film’s stylistic excesses to suggest the history of genocide embedded in both the Overlook Hotel’s history and in American historical concepts such as manifest destiny. Its conclusion utilizes Gilles Deleuze’s model of the time-image to describe an apprehensible historicity in the film’s dual ending.
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Devetak, Richard. Critical International Theory in Historical Mode. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823568.003.0006.
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This chapter recovers a neglected, namely, historical mode of theorizing in an effort to reorient critical international theory. As critical international theories have become more meta-theoretical and abstract, they have lost touch with history. The chapter reconsiders R. W. Cox’s writings—in particular his abiding engagement with historicism and realism—as a means of retrieving critical intellectual resources outside of German idealism and historical materialism. The chapter then uses revisionist histories of the Enlightenment to help reorient critical international theory around historically grounded rather than philosophically grounded forms of criticism. Intellectual resources for this end are recovered from early modern European thought—particularly the historicizing and secularizing political theories of Renaissance humanism and Absolutist historiography. The final section explores the thought of Giambattista Vico, one of Cox’s professed influences, for its ‘Enlightened’ emphasis on humanist pedagogy and its historicist attention to changing forms of civil institutions.
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Pettitt, Clare. Serial Forms. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198830429.001.0001.
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Serial Forms: The Unfinished Project of Modernity, 1815–1848 proposes an entirely new way of reading the transition into the modern. The first book in a three-part series which will take the reader up to the end of the First World War, Serial Forms looks at the rapid expansion of print in London after the Napoleonic Wars. It shows how the historical past and the contemporary moment are emerging into public visibility through serial newsprint, illustrations, performances, shows, and new forms of mediation and it suggests that the growing importance and determining power of the form of seriality is a result of the parallel and connected development of a news culture alongside an emergent popular culture of historicism. Pettitt’s attention to the increasingly powerful cultural work of seriality in this period offers a fresh new way of thinking about print, media, literary and art history, as well as political, historical and social categories. The argument of Serial Forms rests on historical and archival material but the book also offers a philosophical and theoretical account of the impact of seriality. This first volume sets out the theoretical and historical basis for the subsequent two volumes in the series, which move out of London to encompass continental Europe and the imagination of the global. Serial Forms proposes fresh and frame-shifting analyses of familiar texts and authors, such as Scott, Byron and Gaskell, and sets out to change our thinking about new experiences of time and place in the first half of the nineteenth century.
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Wevers, Lydia. Historical Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0014.
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Since the latter part of the twentieth century, there has been a noticeable turn towards fiction that draws on historical materials, people, and events to reframe the politics of both the past and the present. This turn was signalled by Linda Hutcheon in 1988 as part of postmodernism. In recent years, and particularly in the postcolonial settler literatures of Australia, Canada, New Zealand the intersections of history and fiction have become significantly political. The chapter considers novels in Australia, Canada, New Zealand, and the Pacific that deploy a more traditional form of historicity, including those written by Patrick White; historical novels by Indigenous writers; the regionalism of Canadian literature by contrast with New Zealand or Australian historical fiction; and historical fiction that parodies or reframes famous novels of the past.
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Idris, Murad. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190658014.003.0010.
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The epilogue to this genealogy of peace returns to the parasitical, provincial, and polemical structures discussed throughout the book. It highlights some of their major continuities and transformations. In the parasitical structure, the persistent insinuates of peace transform, while other insinuates disappear; both developments produce ripples within peace. The provincial structure tracks how peace is tethered to certain aesthetics, entities, and actions. This tethering, in turn, is indexed by series of shifting anxieties, hierarchies, and secularized theological commitments. The polemical structure traces the qualities and form of the enemy of peace. This structure intensifies until the enemy of peace must either be transformed or eradicated. The epilogue then discusses the significance and historicity of speaking of “Islam and peace.” It concludes by briefly sketching out the three alternative understandings of peace: the truce, particular peace, and separation.
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Barba, Fabian. Quito-Brussels. Sous la direction de Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.30.
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This text is grounded in Barba’s lived experience as a dancer trained in Quito and Brussels. He begins by examining an instance in which a dance is said to look old-fashioned even though it has been recently created. When this judgment occurs across continental boundaries, Barba notes that from a Eurocentric and historicist perspective, working outside the parameters of the so-called centers for contemporary dance can be perceived as traveling back in time. This dismissal of a particular dance, or even of an entire dance tradition, as not really contemporary when identified from within the borders of European modernity is examined and questioned. To navigate through the varied hetero-temporalities enacted in and through different geo-cultural locations, the concepts of historicism (Dipesh Chakrabarty), denial of coevalness (Johannes Fabian), and temporal discrimination (Rolando Vázquez) are applied to this situation of dance and danced reenactment.
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Bal, Mieke. Intership. Sous la direction de Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.10.
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The well-known problem with “adaptation” is that the word is fraught with normative assumptions. Adaptation implies comparison, and comparison implies standards, grounds of comparison. Instead, a dialogue with a past that once was there but cannot be “restored” is a productive deployment of anachronism as a figure of intertemporal thought. Chapter 10 offers a detailed commentary on an “adaptation” of the author’s own that adopts an attitude of loyalty, rather than fidelity, to the text it engages: Flaubert’s Madame Bovary. Flaubert wrote his novel in a strong and critical contemporaneity. The historicity of the cinematic images of most Madame Bovary films thus obliterates from the novel its own historicity, substituting for it a theatrical mask that puts everything at a distance. The audiovisual work discussed here seeks both to actualize the novel and to be loyal to it in the manner of its actualizing.
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Franko, Mark, dir. The Oxford Handbook of Dance and Reenactment. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.001.0001.
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Starting from differences between reenactment and the more established practice of historical reconstruction, leading practitioners and theorists ask how the notion of preservation and representation associated with reconstruction is transformed by reenactment into historical experience and affective relation to the past in the present. In other terms: How does dance convey historical meaning through sensuous form? Danced reenactment poses the problem of history and historicity in relation to the troubled temporality inherent to dance itself. Ephemerality as the central trope of dance is hence displaced in favor of dance as a reiterative practice that confounds categories of chronological time and opens up a theoretical space of history that is often invisibilized by ideologies of immediacy traditionally attributed to dancing. The preponderance of the re- in contemporary choreographic creativity points to the operational value of reenactment in dance as synonymous with cultural production itself inasmuch as culture is engaged with the re-appropriation of signs, citationality, and intertextuality. Collectively, these chapters theorize choreographic reenactments’ potential not only to re-arrange the relationship between past, present, and future, but also to destabilize singular authorship, to unleash choreographies’ multiple meanings, to challenge the linearity of dance history, to rewrite and re-inscribe dance canons, and to the highlight the dancing body’s agentive status as archive.
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Levinson, Marjorie. What is New Formalism ? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.003.0006.
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This chapter offers a critical review of the new formalist movement, especially in the first years of the twenty-first century. It explores new formalism’s embattled relationship to the new historicism, early and late, as well as to other forms of materialist critique. It distinguishes activist from normative new formalism. Activists want to restore to today’s reductive inscription of historical reading its original focus on form, traced most often to Marx, Freud, Adorno, and Jameson. Normative formalists campaign to bring back a sharp demarcation between history and art, discourse and literature, in which form is the prerogative of art. One strain of new formalism makes for a continuum with new historicism. The other, backlash, new formalism traces its position to Kant’s notion of form as the condition of aesthetic experience, understood as disinterested, autotelic, playful, pleasurable, consensus-generating, and thus both individually liberating and conducive to affective social cohesion.
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Walton, Jeremy F. Temporal Practices of Muslim Civil Society, or the Dilemmas of Historicism. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658977.003.0005.
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Just as the spatial practices of Muslim civil society displace the state’s monopoly over the provision of services, the temporal practices of civil Islam interrogate the state’s monopoly over the definition of modernity. Chapter 4 begins with a discussion of the dilemmas that historicism—the state’s privileged mode of relating to the past and present of the nation—creates for Alevi institutions. It then examines a variety of temporal practices articulated by Alevi and Sunni NGOs. These practices include Alevi negotiations of tradition and modernity in relation to the ritual of the cem; the “hermeneutics of example” on the part of Hizmet intellectuals; the Nur Community’s resuscitation of ijtihad (authoritative legal interpretation of the precedents of the Islamic discursive tradition); and museification as a strategy for legitimating communal pasts on the part of both Alevi and Sunni organizations.
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Doud, Tim, et Zoë Charlton, dir. Out of Place : Artists, Pedagogy, and Purpose. punctum books, 2021. http://dx.doi.org/10.53288/0367.1.00.
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Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity. With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions. Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod.
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Lurie, Peter. American Obscurantism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.001.0001.
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American Obscurantism argues for a salutary indirection in U.S. culture. From its earliest canonical literary works through films of the late twentieth and early twenty-first centuries, the most compelling manifestations of America’s troubled history have articulated this content through a unique formal and tonal obscurity. Envisioning the formidable darkness attending racial history at nearly every stage of the republic’s founding and ongoing development, writers such as William Faulkner and Hart Crane, and directors like the Coen brothers and Stanley Kubrick, present a powerful critique of American conquest, southern plantation culture, and western frontier ideology. American Obscurantism engages the basis of these explorations in Edgar Allan Poe and Herman Melville, each of whom present notable occlusions in their characters’ racial understanding, an obtuseness or naivety that is expressed by a corresponding formal opacity. Such oblique historicity as the book describes allows a method at odds with—and implicitly critical of—the historicizing trend that marked literary studies in the wake of the theoretical turn. The book thus restores an emphasis on aesthetic and medium-specific features to argue for a formalist historicity. Working through challenges to an implicitly white, bourgeois, heteronormative polity, American Obscurantism posits an insistent, vital racial otherness at the heart of American literature and cinema. It examines this pattern across a canon that shows more self-doubt than assuredness, arguing for the value of openness and questioning in place of epistemological or critical certainty.
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Forster, Michael N. Philosophy of History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199588367.003.0009.
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Herder makes a number of vitally important contributions to the philosophy of history. His well-known teleological conception of history as a realization of humanity and reason was influential but is probably untenable. A more intrinsically important contribution is a deep commitment to historicization, or the radical transformation of phenomena over time, including historicism, or the deep mutability of human mental life over the course of history. Others are a closely related commitment to reorienting historiography away from explanation towards understanding; a “genetic” or “genealogical” method for explaining psychological phenomena in light of their emergence out of earlier origins and transformations thereof; a conception of historical Bildung; and a recognition that historicism leads to, or exacerbates, skeptical problems, together with a promising strategy for coping with such problems in the domain of value. Herder’s influence in this whole area on thinkers such as Hegel, Nietzsche, and Dilthey was enormous.
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Popova, Irina L., dir. Historical Method in Literary Studies. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0682-6.
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Collective monograph was prepared by scientists from A.M. Gorky Institute of World Literature RAS, Institute of Linguistics RAS, Moscow State University, Russian State University for the Humanities, Georg August University of Göttingen, (Göttingen, Germany) and Queen Mary University of London (London, UK). It covers problems of historicism in the sciences of language and literature. The book includes articles on both general theoretical and methodological issues and different practices: historical poetics, “new historicism”, comparative historical research, dynamic models of literary history. The authors analyze the concepts of history in Russian (A.N. Veselovsky, OPOYAZ, M.M. Bakhtin, etc.), European (E.R. Curtius, E. Auerbach, etc.) and American theory in their connections and relations; study the strategies of literary history, explore the genesis of the idea of world literature, the specifics of philology and the history of world and national literatures.
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Levinson, Marjorie. Romantic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.003.0003.
Texte intégralRésumé :
Chapter 3 pursues Chapter 2’s immanent critique of the new historicism. Whereas new historicism’s bedrock is epistemology—questions about the domain of rationality—metaphysics is the province of questions about reality. The change in Romantic poetry crystallizes in effects that resist our codes not through denial, displacement, or repression—the conditions for a hermeneutics of suspicion—but through something like indifference. We see a new kind of negativity. This version of Romanticism verges on withdrawal from the scene of interpretation, resistance to the depth hermeneutics of earlier Marxist criticism. It is enabled by Spinoza’s theory of conatus; the work of Sebastiano Timpanaro, whose Marxist historicism arises from the nature and biology side; and the notion of autopoeisis of neurophysiologists Humberto Maturana and Francisco Varela. The relevant patterns in Romantic poetry are then illustrated through a reading of Wordsworth’s “Old Man Travelling: Animal Tranquillity and Decay.”
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Watt, Paul, Sarah Collins et Michael Allis, dir. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190616922.001.0001.
Texte intégralRésumé :
This Handbook provides a forum for consolidated interdisciplinary discussion on intellectual culture in the “long” nineteenth century highlights and focuses its innovative methodological potential for the areas of musicology, literary and historical studies. In particular, the collection challenges the work-centred focus of Western music history by treating writings about music as cultural artefacts of substantive importance—rather than mere supplements to musical understanding—and will thereby historicize and problematize current conceptions of periodization and national narratives of music history.
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Hutson, Lorna. Theatre. Sous la direction de James Simpson et Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0013.
Texte intégralRésumé :
In the 1980s, New Historicist critics suggested that Renaissance theater was marked by the Reformation; specifically, that it expressed the vanishing of ritual and sacrament from ordinary people’s lives. More recently, critics like Sarah Beckwith have shown how pre-Reformation theater worked as ritual and sacrament by revealing the extent to which it was implicated in the jurisdiction of confession, penance and absolution for sin. This article revisits the question of how the Reformation abolition of annual mandatory confession affected theater. It qualifies both the New Historicist view of Renaissance theater as evacuated ritual and Beckwith’s view of the Protestant abolition of confession as an exteriorization of penance. Reading the first English Renaissance neoclassical comedy in English,Gammer Gurton’s Needle(c.1553-60), the article shows how profoundly its neoclassical concern with proof and evidence is tied in with a rejection of priestly confession and an invitation to parishioners and neighbors to be more skeptical and less credulous in believing the worst of one another.
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Steinmetz, George. Bourdieusian Field Theory and the Reorientation of Historical Sociology. Sous la direction de Thomas Medvetz et Jeffrey J. Sallaz. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199357192.013.28.
Texte intégralRésumé :
Chapter abstract This chapter explores some of the ways Bourdieusian theory is reinvigorating historical sociology. The first section reconstructs Bourdieu’s increasingly serious engagement over the course of his career with historians and historical material. It argues that Bourdieu generated and encouraged among his students a unique approach to historical sociology. The second section argues that the historical turn in Bourdieu’s work is firmly grounded in the fundamentally historicity of his two key theoretical concepts, habitus and field. The third section sketches an agenda for future work in historical sociology based on Bourdieu’s mature theory. The final section surveys recent social research using Bourdieusian field theory, arguing that this constitutes an unacknowledged and growing tendency within historical sociology.
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Chemla, Karine, Renaud Chorlay et David Rabouin. Prologue. Sous la direction de Karine Chemla, Renaud Chorlay et David Rabouin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198777267.013.1.
Texte intégralRésumé :
This book examines generality in mathematics and the sciences and how it has been shaped by actors, in part by introducing specific terminologies to distinguish between different levels or forms of generality. Focusing on early modern and modern Europe, it investigates how actors from Gottfried Leibniz and Henri Poincaré to René Descartes and James Clerk Maxwell worked out what the meaningful types of generality were for them, in relation to their project, and the issues they chose to deal with. Such a view implies that there are different ways of understanding the general in different contexts. Accordingly, it suggests a nonlinear pattern for a history of generality. The book considers actors’ historiography of generality and their reflections upon its epistemological value, the historicity of the statements used by actors to formulate the general, and the ways that actors tackle the general using specific practices.
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Ussishkin, Daniel. The Sources of Collective Action. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190469078.003.0004.
Texte intégralRésumé :
Chapter 3 demonstrates how during the long nineteenth century the subject of moral forces in battle assumed a central position within tactical and theoretical discourses on war. It suggests that during the final decades of the century these moral forces were largely subsumed under the new concept of morale. On a theoretical level, the chapter grapples with the question of historicity, change, and continuity in the discussion of moral forces, and then explores the ways in which this new concept now linked cohesion and discipline on the field to the fate of a modern, imperial, civil society. The formulation of this new territory did not yet signify a shift in the articulation of conduct, but provided for a new military social imaginary.
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Ondrey, Hauna T. A Nexus of Commentatorson the Twelve. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824534.003.0002.
Texte intégralRésumé :
Chapter 1, “A Nexus of Commentators on the Twelve: Theodore and Cyril’s Defense of Historia,” compares Theodore’s and Cyril’s Minor Prophets commentaries with those of Didymus (on Zechariah only) and Jerome. The direct comparison afforded by these extant commentaries reveals Theodore and Cyril’s shared interest in, and commitment to the historicity of, events depicted and predicted by the Twelve Prophets. A shared commitment to the unfolding divine economy leads Theodore and Cyril to write commentaries on the Minor Prophets in which both root the prophets firmly in Israel’s history and in turn situate Israel’s history within broader narratives of salvation history. On this basis, the chapter advocates for the ongoing validity of asserting a patristic interest in “history” against recent overcorrections.
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Keiling, Tobias. Phenomenology and Ontology in the Later Heidegger. Sous la direction de Dan Zahavi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198755340.013.17.
Texte intégralRésumé :
Heidegger’s later philosophy is marked by two conflicting claims about phenomenology. On the one hand, phenomenology and philosophy generally is tasked with “responding to the claim of what is to be thought” in a novel and unprecedented manner. On the other hand, Heidegger recognizes that there have been earlier attempts at thus doing justice to phenomena; in the ontological commitments of earlier thinkers, Heidegger finds accounts of the “things themselves,” each of which has different implications for what phenomenology should concern itself with. Phenomenology, as Heidegger conceives it, should thus both incorporate the history of philosophy and exceed it, yet it is unclear how these ideas can be reconciled. This chapter calls this problem the “dilemma of the historicity of phenomenology” and identifies different versions of it in Heidegger’s works after 1935/6.
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Dainotto, Roberto. Geographies of Historical Discourse. Sous la direction de Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.32.
Texte intégralRésumé :
This chapter attempts to frame European Romanticism against the background of that ‘somewhat enigmatic event’ which, between the end of the eighteenth and the beginning of the nineteenth century, was said by Foucault to have begun European modernity: the discovery of ‘the historicity of knowledge’. By the middle of the eighteenth century, the monogenetic assumption that humankind was of a single Adamitic origin, created by one God, and universally attending to one divinely ordained natural law, had already fallen into disrepute under the attack of Reason; once Reason too, along with its presumption of one ‘unchanging human nature’, was relativized after the European discoveries of different cultures and ancient civilizations, a new outlook on life, which Meinecke called historismus, ‘rose’ to change once and for all European culture’s very understanding of its world.
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Morgan, Robert. Christ. Sous la direction de Joel D. S. Rasmussen, Judith Wolfe et Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.19.
Texte intégralRésumé :
Most nineteenth-century Christians continued to take the divinity of Christ for granted, but, following the Enlightenment challenge to biblical and ecclesiastical authority and the rise of historical consciousness, the focus of theologians shifted to his humanity. Schleiermacher shared the rationalist rejection of supernaturalism and was critical of Chalcedon’s ‘two natures’ conceptuality but defended the divinity of Christ in terms of his perfect humanity. His presentation depended on the substantial historicity of the Fourth Gospel which was undermined by subsequent historical criticism. Strauss separated belief in divine immanence from the historical figure. Others built their historical sense into incarnational theologies, but following Renan (1863) lives of Jesus could scarcely acknowledge his divinity. The erosion of scriptural authority was widely contested and orthodox reactions reaffirmed the dogma. That pointed ahead to more recent attempts to integrate tradition and modernity rather than choosing between them.
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Chamberlain, Ava. A Fish Tale. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190249496.003.0009.
Texte intégralRésumé :
Ava Chamberlain treats Jonthan Edwards’ interpretation of the biblical story of Jonah, comparing it with that of Cotton Mather and that of early modern skeptics. In this case study, she shows how exegetes like Edwards and Mather probed the meaning of Hebrew terms and considered how the biblical account accorded with the natural world—all in the face of those who derided the Jonah story as a farce. Her work highlights how early modern questions about the Bible’s historicity informed and affected the exegesis of Protestants like Edwards and Mather. It also demonstrates that although Edwards and Mather engaged the biblical text in many similar ways, Edwards also differed in the degree to which he emphasized the need for divine grace to understand the Bible, a forceful assertion of supernaturalism against the emerging naturalism of his time.
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Fearn, David. Ecphrasis and the Politics of Time in Pythian 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0004.
Texte intégralRésumé :
This chapter offers a new interpretation of the elaborate opening frame of Pindar’s Pythian 1 within the broader encomiastic strategies of this poem. In it the ecphrastic and hymnic qualities of this opening are discussed, and especially its use of the volcanic eruption of Mount Etna. The poem’s treatments of the following are revealed: the interrelation between myth and history; divine and mortal time; the nature and extent of the divide between divine and mortal realms; and the prospects for encomiastic memorialization within these parameters. The poem provides a self-reflexive commentary on itself and its prospects, as a ruptured array of heroic and divine myth and human historicity, sociopolitical agency, and totalitarian attempts to control time. It is aimed not only at Hieron and Sicily, but also at others across the Greek world. This complex reception is prefigured in visual, ecphrastic terms.
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Duncan, Ian. Walter Scott and the Historical Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0017.
Texte intégralRésumé :
This chapter explores Walter Scott and the historical novel. Scott made the novel a modern epic form by making it national, and he made it national by making it historical. In doing so, he endowed the novel with the aura of philosophical dignity attached to history, the most prestigious of the Enlightenment human sciences, especially in Scotland. The historical novel became the ‘classical’ form of the novel as such throughout the nineteenth century, retaining popularity and prestige well after the major Victorian novelists had absorbed Scott's techniques for a historicism trained on modern conditions. The combination of history and Bildungsroman inaugurated in Waverley; or, ‘Tis Sixty Years Since (1814) would provide a model for aspiring national literatures across Continental Europe, its imperial frontiers, and its colonial satellites, well into the next century.
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Gray, Erik. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.003.0001.
Texte intégralRésumé :
This chapter sets out the book’s scope, methodology, and premises. The book’s topic is erotic love (eros)—as opposed to other forms such as friendship (philia) and family or divine love (agape)—and its relation to poetry, especially lyric poetry, across the Western tradition. Given the historicist bent of most current criticism, it is relatively rare for a book to juxtapose works from many different periods, as this one does. But such transhistorical criticism has advantages, not least in revealing often surprising similarities and continuities among works from very different contexts. Notably, love lyrics consistently foreground the tensions between privacy and publicity, as well as between singularity and convention.