scholarly journals Intellectuals in power: Social patterns in the formative years of second Yugoslavia

2011 ◽  
Vol 22 (3) ◽  
pp. 121-135
Author(s):  
Dusan Boskovic
Keyword(s):  
Political History ◽  
Socialist Realism ◽  
Social Patterns ◽  
The Arts ◽  
History Of ◽  
Formative Years

Political history of the Second Yugoslavia was continuously sacral, while secularization mainly took place within the arts? domain. The Cominform (Informbiro) and split with the SSR opened up a space for greater freedom of creativity (Kardelj, Djilas, Segedin) and for the abandonment of the socialist realism and its attempt to control the content of art (Zogovic). A third position on literature was promoted by Vladan Desnica.

The Non-Political Past in Bacon's Theory of History

1974 ◽  
Vol 14 (1) ◽  
pp. 4-20 ◽  
Author(s):  
Arthur B. Ferguson
Keyword(s):  
Political History ◽  
Theory And Practice ◽  
Historical Knowledge ◽  
Ecclesiastical History ◽  
The Arts ◽  
Close Relationship ◽  
History Of ◽  
Theoretical Category ◽  
Traditional Scholarship ◽  
Historical Reflection

Surveying the state of historical knowledge in his day, Francis Bacon noted with concern that, in contrast to ecclesiastical history and political history, both of which were already “extant,” the history of learning and the arts was “wanting.” Without it, he said, the history of the world is like the statue of Polyphemus without the eye: “that feature being left out which most marks the spirit and life of the person.” Whereupon he proceeded to give the history of learning and the arts a place of its own in the scheme of historical knowledge, and for the first time in English writing. All of which is surely well known; but its significance in relation both to the historical thought of the later Renaissance and to that of Bacon himself has not received quite the attention it deserves. This is not, of course, surprising. Serious as he believed the lack of such a history to be, Bacon himself continued to follow the common Renaissance prejudice in favor of political history — his “Civil History, properly so-called, whereof the dignity and authority are preeminent among human writings.” And in his own relatively brief forays into the formal writing of history he reverted to a more or less sophisticated brand of “politic” history. What has tended to be overlooked is the close relationship his theory of a history of learning and the arts bears to his entire project for the reorientation of learning and, in particular, to the historical critique he in fact made of traditional scholarship. His theoretical category remained, it is true, just a bit too narrow to accommodate the breadth of his own historical reflection. History, to him, still meant a formal literary genre. Taken together, however, his theory and practice should reveal something of importance about his historical perspective, to say nothing of that of his age.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of
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