Political Practices of Progressivism

Istoriya ◽  
2021 ◽  
Vol 12 (10 (108)) ◽  
pp. 0
Author(s):  
Maria Fyodorova
Keyword(s):  
Twentieth Century ◽  
Social Consciousness ◽  
Historical Time ◽  
Political Practice ◽  
Main Subject ◽  
Bright Future ◽  
The Social ◽  
Close Relationship ◽  
The Creation ◽  
Modern Era

The main subject of the article is progress as a concept and as a political practice. Starting from the idea of a close relationship between the historical and political sections of the social consciousness of the era, the author shows how the emergence and evolution of the concept of progress in the modern era influenced the formation of political practices in the era of modernity through the creation of political projects within the framework of various ideologies. It is shown that changes in the perception of historical time in the second half of the twentieth century led to a significant transformation in the understanding of progress and its transformation from one of the central categories into “myth”, “utopia”, etc. and, accordingly, to the modification of political practices. Today's progressivism is a very complex interweaving of political concepts and practices that are gradually losing their historical optimism and are turned rather not to creating a utopian project for a bright future, but to developing specific programs to minimize the risks of modern civilization.

scholarly journals Out of Time? Some Critical Reflections on François Hartog’s Presentism

2021 ◽  
Vol 31 (4) ◽  
pp. 31-64
Keyword(s):  
Twentieth Century ◽  
Negative Attitude ◽  
Careful Study ◽  
Historical Time ◽  
The Past ◽  
The Social ◽  
Analytical Category ◽  
The Relationship ◽  
Modern Era ◽  
Modern Sense

The article offers a thoroughgoing critique of the concept of presentism, through which the famous French intellectual historian François Hartog conceptualized the modern sense of history. Introducing the concept of “the regime of historicity,” Har- tog pointed to the socio-cultural conditionality of the relationship between the pre- sent, past and future. He redefined Koselleck’s description of the genesis of modern history during the “saddle time” in terms of a transformation in the regimes of his- toricity. The author of the article points out the duality of Hartog’s presentism, which is both an “ideal type” and a description of a chronologically defined span of time. Although Hartog explicitly speaks of presentism as a heuristic tool designed to deal with the temporal experiences of people, he does not investigate them anthro- pologically or sociologically. Hartog describes the specific tendencies inherent in twentieth-century historiography — its memorialization and juridification, and the concepts that have become key in dealing with the past — memory, commemoration, heritage and identity. These arguments of Hartog’s contain normative judgments and indicate a negative attitude toward the change that he witnessed in the social status of historiography. Careful study shows that Hartog’s use of presentism as a diagnosis of the modern era is incompatible with presentism as an analytical category. The former assumes a progressive linear course of time and is the inverse of modernism. The latter is a way of pluralizing time. The half-heartedness of such a status can be seen by contrasting it with Achim Landwehr’s concept of chronoference, which explains the sociocultural nature of historical time. If the distinctions between past, present and future are not ontological (as the historians of modernity imagined them) but instead situational, then the dominance of any one order of time is impossible. But unlike Landwehr, Hartog is not ready to completely abandon the modernist concept of history.

scholarly journals Culture and man in the mirror of semiotic-environmental approach

2020 ◽  
pp. 36-48
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
Living Environment ◽  
The Other ◽  
Main Subject ◽  
The Core ◽  
The Social ◽  
The Creation ◽  
Analysis Of Cases ◽  
New Interpretation ◽  
World Development ◽  
Social Collective

This article offers the concept of culture based on the authorial version of semiotic and environmental approach. The stages of the author’s culturological research are outlined: from the semiotic concepts of “Moscow Methodological Group" to the extensive interpretation of semiotic and environmental approach, in which the core of semiosis is the patterns, and namely semiosis sets the human living environment. Based on these facts, a new interpretation of culture is proposed. At the same time, the author differentiates two types of cultures: 1) the main subject is the social collective and collective individual inseparable from the collective; 2 a person appears on the scene of history, and culture consists of the three types of individuals ‒ collective individuals, individuals, and intermediaries between individuals and collective individuals. It is underlined that since the antique culture, an important role in cultures is played by intermediaries (philosophers, pedagogues, politicians, artists), as well as by various forms of communication. Antique culture also marks differentiation of two forms of world development, one based on the creation of patterns, and the other – on modeling and scientific examination (the latter includes schematization of reality as one of essential moments). Leaning on such division, the author discusses the peculiarities of patterns and models, as well as cognition based on modeling. The theoretical and methodological reasoning and hypotheses are confirmed by the analysis of cases and structuring of methodological patterns. The article provides a sketch of the genesis of cultures from antiquity to modernity, and crisis of the latter.  

A Space for Time

Futures ◽  
2021 ◽  
pp. 51-68
Author(s):  
Sandra Kemp
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Temporal Organization ◽  
Early Twentieth Century ◽  
The Social ◽  
Political Narratives ◽  
The Future ◽  
The Creation ◽  
Essay Tests

This essay analyses the role of museums in the creation of futures imaginaries and the ways in which these are embedded in socio-political narratives over time (narratives of nation, empire, power, consumption, and home). The essay tests its hypotheses through charting the evolution of the nineteenth-century phenomenon of the soirée—exhibitions and events showcasing technological, scientific, and cultural innovations of the future—from their heyday in the mid nineteenth century to their demise in the early twentieth century. In particular, the essay explores the social, spatial, and temporal organization of nineteenth- and early twentieth-century soirée display spaces as carriers of future worlds. It argues that the creation of futures imaginaries depends on interrelationships between people and objects across space and time, and that the complex web of relations established between words, objects, spaces, and people in exhibitions provides catalysts for ideas, ideologies, and narratives of the future.

scholarly journals The Transformation of Historical Time: Processual and Evental Temporalities

2021 ◽  
Vol 31 (4) ◽  
pp. 219-246
Keyword(s):  
Climate Change ◽  
Artificial Intelligence ◽  
Twentieth Century ◽  
Philosophy Of History ◽  
Historical Time ◽  
The Past ◽  
The Future ◽  
Positive Meaning ◽  
The Difference ◽  
Modern Era

The author takes on two interrelated tasks. The first is to justify the philosophy of history as an intellectual enterprise for the modern era and one which is dedicated to finding a positive meaning in the changes that occur within humanity as it moves from the past toward the future. The viability of that enterprise has been called into question by the catastrophes of the twentieth century. The second task is to propose a new concept of historical temporality instead of the “processual” one that was discredited in the previous century. Simon maintains that we are now living in a period similar to the “saddle time” (from 1750 to 1850) described by Reinhart Koselleck. The difference between that period and the current one lies in the replacement of the “processual” temporality that was established in that earlier time by an “evental” temporality, whose structure this article is intended to explain. The future plays a key role in the structure of evental temporality. The future no longer denotes the perspective that maps out the direction of historical changes but is instead synonymous with changes as such — changes so radical that the continued existence of mankind within its former ecological, biological and physiological boundaries is at stake. The author illustrates these changes with references to bioengineering, artificial intelligence, anthropogenic climate change, etc. Expectations about these changes are utopian and dystopian at the same time and can feed one’s wildest hopes and fantasies as well as inspire the darkest fears and dreads. In any case, these changes themselves are in no way determined by the previous course of history. The future they point to undermines the continuity of human experience because it is completely independent of the past.

French Musicology and the Musical Press (1900–14): The Case of La revue musicale, Le mercure musical and La revue musicale SIM

2015 ◽  
Vol 140 (2) ◽  
pp. 243-272 ◽  
Author(s):  
Michel Duchesneau
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Social Issues ◽  
Early Years ◽  
Important Influence ◽  
Initial Presentation ◽  
The Social ◽  
The Creation

ABSTRACTThis article uses the case study of the Revue musicale, founded by Jules Combarieu and Romain Rolland in 1901, to analyse the shape of French musicology at the outset of the twentieth century and, in particular, how social issues surrounding research in the social sciences had an important influence on the orientation of the discipline in subsequent decades. Occupying a position at the heart of French musicological activity in the early years of the century, the project was quickly challenged, leading to the creation of the Mercure musical in 1905, which would eventually become the Revue musicale SIM, published by the Société Internationale de Musique (Section de Paris), in November 1909. After an initial presentation of the journal's editorial project, the article then analyses the founders’ intellectual objectives and explores the links between the journal's structure, its anticipated objectives and the evolution of the discipline through the various publications that followed.

scholarly journals From the History of Turkestan Emigration: «Turkestan Charity Society» in Cairo

2020 ◽  
Vol 13 (4) ◽  
pp. 824-844
Author(s):  
A. G. Khairutdinov
Keyword(s):  
Twentieth Century ◽  
Central Asia ◽  
Main Part ◽  
Political Refugees ◽  
Close Relationship ◽  
History Of ◽  
The Creation

The article introduces the content of a previously unknown document related to the history of Turkestan emigration in Egyptin the 40s of the twentieth century. We mean the Charter of Turkestan Charity Society (Turkestan Jamiyat-i Khayriyesi), created inCairo in 1944 by a group of eminent people from the Bolshevik Central Asia political refugees. The document is written in two languages: Arabic and Turkish. Not only the main part of the document is of particular interest, but it also makes it possible to identify the names of prominent representatives of theTurkestan emigrant community who participated in the creation of the society. The relevance of the proposed material is caused by the fact that the information about the very process of creation and its initiators is not available neither in domestic nor in foreign theses published recently on the history ofTurkestan emigration. In addition, the article reveals some fresh evidence about a group of people who were in close relationship with one of the brightest representatives ofTurkestan emigration, a Tatar theologian, Musa Bigiev (1875–1949). Here we mean HH Princess Khadija Abbas Hilmi (1879–1951), a representative of the Muhammad Ali dynasty, as well as Musa Bigiev’s students Yusuf Uralgiray (1915–1976) and Muhammad Turkistani (1904–1991).

scholarly journals THE IMAGE OF A TREE AS THE EMBODIMENT OF PHILOSOPHICAL CONCEPTS IN J. R. R. TOLKIEN’S OEUVRE

2019 ◽  
Vol 3 (93) ◽  
pp. 82-91
Author(s):  
О.Б. Козій
Keyword(s):  
Eternal Life ◽  
Lord Of The Rings ◽  
Twin Brother ◽  
The Earth ◽  
Spiritual Culture ◽  
Logical Conclusion ◽  
The Social ◽  
Close Relationship ◽  
The Creation ◽  
The Universe

English linguist Tolkien is world-famous as the creator of the fantasy genre and the author of the epic novel «The Lord of the Rings» which has overgrown the measures of a novel having become a cultural phenomena. The tree is one of the universal symbols of the spiritual culture. It unites the Earth with the heaven, defines the human’s way to oneself, to spiritual summits. In the works of J. R. R. Tolkien the tree isn’t just a detail but also a character, the symbol of the eternal life circulation. Symbolizing the synthesis of heaven, earth and water, the dynamics of life, combining the worlds, the tree in the creation of Tolkien is a complex archetypal derivative that accumulates feminine as a source of life, male as a defender of the genus. Being fond of Welsh and Finnish, Scandinavian and Celtic mythology, Tolkien used the elements of the latter to build a model of his own artistic world. But being a Christian, he could not implement his ideas into the Universe without a god. God is present in the work of Tolkien, though remains invisible. The artistic world of many works is built around a tree, which is not only a biblical image, but also a part of the social subconscious, archetype. The close relationship between the creator and creation is a reflection of the ancient beliefs about man and the tree as indivisible unity, that the tree could become a friend, a «twin brother» of a man, the incarnation of his soul. The tree becomes the creating centre of the main character’s own universe, the logical conclusion of the artist's life search. Not only mastery, but the power of the author's imagination is in the focus of the writer's attention.

I, You, We: Community and Redemption in Rosenzweig

Naharaim ◽  
2020 ◽  
Vol 14 (2) ◽  
pp. 225-241
Author(s):  
Michael L. Morgan
Keyword(s):  
Twentieth Century ◽  
Jewish People ◽  
Martin Buber ◽  
Franz Rosenzweig ◽  
Ideal Society ◽  
The Social ◽  
The Creation

AbstractIn the early decades of the twentieth century, the concept of community (Gemeinschaft) was associated with an ideal society or polity; a host of figures conceived of redemption as the creation and development of community. In this paper, I briefly discuss how this ideal was appropriated by Martin Buber and how genuine community came to mean, for him, a society organized in terms of a collection of I-Thou oriented relationships. I then consider how the same ideal might help us to understand the social and historical ideal which Franz Rosenzweig takes to be the redemptive ideal of Judaism and the Jewish people.

scholarly journals Postmodern culture as a social logic of neoliberal capitalism

Kultura ◽  
2021 ◽  
pp. 39-54
Author(s):  
Milan Urošević
Keyword(s):  
Twentieth Century ◽  
Power Relations ◽  
Cultural Dimension ◽  
Neoliberal Capitalism ◽  
The Social ◽  
Economic Sphere ◽  
The Creation ◽  
Social Logic

The aim of this paper is to explore the relation between changes in the economic sphere and the emergence of postmodern culture during the twentieth century. After examining Jameson's and Harvey's (neo)Marxist attempts at explaining the emergence of postmodern culture, the paper will focus on Foucault's contribution to the analysis of neoliberalism. Using Foucault's analysis of neoliberalism as a "governmental regime" that creates systems of power relations to govern subjects, the paper further explores the postmodern culture as a cultural dimension of this regime. In conclusion, postmodern culture can be viewed as a cultural dimension of neoliberalism because it contributes to the creation of subjects that correspond to the needs of the regime. Therefore, postmodern culture will be called "the social logic of neoliberalism".

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