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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The article focuses on the evolution of Victorian poetry scholarship over the past two decades. Topics include the methodological shift towards integrating historicist and formalist approaches, the expansion of literary analysis to include interdisciplinary and global perspectives, and the dynamic exploration of Victorian print and oral cultures.

Between the 1960s and the 1970s, Marxism reached its maximum success in Italy, but that phase also corresponded to the crisis of the Italian Communist Party's cultural hegemony, challenged by both the attacks coming from the New Left and innovative readings of Marx's works. Marxist historicism, on which the Italian Communist Party had based its cultural policy after the the Second World War, consequently suffered heavy attacks. This article illuminates one of the responses to historicism's decline, providing an account of the book series La Scienza Nuova, issued by the publishing house Dedalo in Bari and edited by the communist intellectual Mario Spinella, who was able to remain loyal to his party demonstrating, at the same time, cultural autonomy. Also grounding on archival documents, the article posits that Spinella's aim was to attract New Left readers by selecting books on topics and by authors that were in fashion in Italy and abroad, but incorporating them into a theoretical framework based on Marxist historicism, in order to preserve the latter in an evolving cultural environment. [ABSTRACT FROM AUTHOR]

In The Politics of Modernism, Raymond Williams pointed out that as a category for understanding the new, modernism was thoroughly ideological. This article addresses the problem of modernism's exclusivity and the ways in which it associates the new, and by extension the present, with certain qualities and privileges as well as with coloniality in general. Building on recent expansions of modernism by Susan Stanford Friedman and David Damrosch as well as on a general turn against historicism in the literary humanities, it suggests the value to reading modernism in relation to prehistory. Thinking in terms of the memory of things, the persistence of landscapes and materials, offers a way in which we can arrive at an untimely conception of modernism: a conception that is meaningful and useful beyond the limited scope of conventional constructions of the field. In illustrating this argument, the essay discusses the Maryhill Monument as well as the sculptural work of Barbara Hepworth, Henry Moore, Kurt Schwitters, Carl Andre, and Thomas Hirschhorn. The essay concludes with a consideration of Williams's awareness of the revisionary potentials of prehistory in relation to modernism in his last, unfinished, novel, People of the Black Mountains. [ABSTRACT FROM AUTHOR]

We are used to thinking of modernist works, à la Ricoeur, as 'tales about time', either as marking ruptures in time, or cycling back on time. In recent criticism, in what has been seen as a move beyond the historicism of the new modernist studies, there has been significant attention paid to the future in modernism, and indeed the futures of modernism. This paper will attend to how some of the key modernist texts of 1922, including Ulysses, Jacob's Room, and the beginnings of Mrs Dalloway, address futurity in various forms (prolepsis, prophecy, speculation), and open themselves to possible futures. More than a century on from the annus mirabilis of 'high' modernism, what accounts for the continued 'usefulness' of such works as ways of thinking about and preparing for what Joyce called 'the imprevidibility of the future'? And what are the implications for modernist studies, at this commemorative moment, of a future-oriented criticism? [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify the features of Ukrainian modernism as a unique socio-cultural phenomenon. The research methodology is based on a systematic approach to the study of the problem and includes synchronous and diachronic methods of scientific knowledge, as well as analysis, comparison, generalisation, and extrapolation. The scientific novelty lies in the attempt to find historical parallels between the events of the early 20th century, which influenced the figurative rethinking of reality in art, and postmodern trends of today. Conclusions. Considering modernism in the Ukrainian socio-cultural space, it was found that art was not only characterised by keeping up with European times in gaining experimental experience, but also by a philosophical basis aimed at self-identification. Thus, for many Ukrainian artists, a complete break with traditional art became impossible, and the search for the answer to the question "who we are" became the reason for the integration of centuries-old ethnic codes into the art space of the modern era. Thus, the phenomenon of modernism in Ukrainian culture is primarily associated with the reflection of the historical and cultural paradigm and the search for autochthonous meanings. [ABSTRACT FROM AUTHOR]

Recent research has played a pivotal role in advancing our understanding of cloisonné enamel production in China during the 19th and 20th centuries. However, Christian workshops, whether operating under missionary subcontracting or owned by the Catholic Church, have yet to be accurately identified and contextualized. This article delves into three significant contexts. Firstly, it identifies and contextualizes the Christian connections and interactions of the Decheng private cloisonné workshop, involving the French Lazarist Bishop Alphonse Favier, in Beijing. Secondly, it identifies the cloisonné workshop stablished by the Lazarists in the Beitang complex in Beijing and elucidates the role it played. Finally, this paper presents new evidence concerning cloisonné Christian objects crafted by the Tushanwan Jesuit workshop in Shanghai. Some of the primary works of these three workshops are identified for the first time. Additionally, this paper shows that certain cloisonné crosses, some of them thought to be originally Japanese, including those referred to as Namban, were, in fact, crafted in Beijing during the 1920s. These preliminary results will contribute to placing Chinese Christian cloisonné within the history of Chinese Art and its interactions at a global level in the context of evangelization in China, the production of the so-called export art, and the processes of indigenization carried out by the Lazarists and the Jesuits. [ABSTRACT FROM AUTHOR]

Throughout its evolution, every theory usually faces certain challenges that prove its vitality. The discourse of rights, as a theoretical conception aimed at its explanation and foundation, is not exempt from the permanent task aimed at responding to these challenges. This essay analyzes the risks that are considered most decisive and pressing for the discourse of rights. To this end, three current challenges to the theory of rights are studied and three responses to them are suggested. Eleaticism, particularism and posthumanism are considered the main challenges facing reflection on rights today. The response to these attitudes is constituted by historicism, universalism and humanism. [ABSTRACT FROM AUTHOR]

The 'Romantic lyric' as an idea or critical entity finds itself doubly maligned in contemporary lyric studies. As a perceived product of New Criticism, it finds itself accused by historicists of bringing about the 'lyricisation' of poetry in twentieth‐century criticism, and, as a mimetic model of subjective expression, it's disfavoured by lyric theorists who view it as a stepping stone towards the currently common misconception that lyrics are a species of dramatic monologue. Yet returning to the Romantics themselves, we discover other models of the lyric that sit outside the expressive model or the paradigm of lyricisation, and which may well be of use to contemporary lyric studies. This essay offers a reading of one such model in the works of Samuel Taylor Coleridge, in the form of lyric's semblance character: Coleridge is peculiarly and persistently concerned with the way the world appears to be (which is often not how the world really is), and his lyric poetry figures as a kind of seemingness in its own right, and one that reflects on the nature of appearances themselves. Before making a case for lyric semblance, this essay offers an overview of the state of lyric studies today, taking as exemplary the work of Virginia Jackson and Jonathan Culler; it places emphasis on the role of the 'Romantic lyric' in both accounts, and teases out some of what's at stake in the tension between historicism and formalism that is at the centre of lyric studies today. [ABSTRACT FROM AUTHOR]

The study provides a new analytical model for interpreting early modern sacral architecture. The example of selected buildings from Moravia at the turn of the 16th and 17th centuries shows the possibilities of applying the „anachronistic model", an alternative to linearly defined autonomist art history, especially in the case of Renaissance studies. In contrast, the buildings under study present themselves as objects with a specifically heterogeneous temporal identity that simultaneously applies the principles of historicity and modernity to the buildings in question. [ABSTRACT FROM AUTHOR]

This article argues that history played a larger role in the thought of Gottlob Frege than has usually been acknowledged. Frege's logical writings frequently employed statements about the past as examples that included references to historical persons. Frege also described history as a science and argued that historical propositions could support valid inferences and reliably identify historical persons and events. But Frege's eternalist theory of reference, designed primarily for formal concepts and objects, struggled to accommodate such propositions. Identifying an objective referent for the subjectivity of historical actors was particularly problematic. The article suggests that Frege's writings are interesting for the philosopher of history for at least two reasons: first, his work is clarificatory when considering the key features that historical propositions must have to count as objective knowledge, and second, it foreshadowed the issues with historicity that analytical philosophy experienced in the twentieth century. It concludes that the problems Frege raised exposed the need for a new concept of inter-subjectivity to replace his own Platonic foundation for objectivity. [ABSTRACT FROM AUTHOR]

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Copyright of All Azimuth: A Journal of Foreign Policy & Peace is the property of Ihsan Dogramaci Peace Foundation, Center for Foreign Policy & Peace Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the myths about Mwalimu Julius Nyerere, the first president of Tanzania, in Banyakyusa narratives. It uses narrative and new historicism theories to capture the recreation of Nyerere as a national hero and understand the interplay between his representation in myths and his depiction in historical and biographical documents. The myths were collected from Busokelo, Kyela, and Rungwe districts in southwest Tanzania. The Banyakyusa believe Nyerere was endowed with massive mystical powers, which helped him win against colonialists, defeat Idi Amin, and build multiparty democracy. Politicians, historians, and the media play a significant role in the recreation or whitewashing of the Nyerere myths. [ABSTRACT FROM AUTHOR]

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

How might the future of a city be foretold in a single ubiquitous, yet often invisible, building material? Across the Chinese capital today, municipal planners, developers, artists, and residents alike are mobilising the brick not only as a window to the past and an indictment of the present, but a key portent of the future. Amid a capricious climate of creative destruction, this article tracks how bricks emerge as historicised artifacts, aesthetic interventions, and weapons used by and against the forces of China's spectacular development. Against clichés of intractable permanence, the Chinese brick today is revealing new and unpredictable vicissitudes as it is co-opted in projects of governance and resistance, demarcating both the material and symbolic parameters of urban belonging in contemporary Beijing. Approaching the lived form of the Chinese metropolis through this traditional architectural material, the article describes Beijing brick in three instantiations: as a lightning rod for debate about the past, present, and future of Beijing's historic old city; as a materialisation of the atmospherics of pollution and "progress"; and as the armament of both development and its opposition. Through these instances, the brick oscillates between being understood as a relic of aestheticised tradition, a symbol of modernisation, and a trenchant instrument of both building and destruction. As extended fieldwork in Beijing evidences, it is precisely this social and material mutability of the brick that today reorients life in the city toward novel human and nonhuman alliances and oppositions, while also conditioning wider political sensibilities about who counts and what matters in official and unofficial imaginings of China's future. [ABSTRACT FROM AUTHOR]