scholarly journals The End of History: Factors and Methodological Parameters of the Conceptualization of the Idea

2020 ◽  
Vol 20 (4) ◽  
pp. 389-393
Author(s):  
Vladimir P. Rozhkov ◽  
Keyword(s):  
Comparative Analysis ◽  
International Community ◽  
Philosophy Of History ◽  
Historical Process ◽  
Philosophical Reflection ◽  
End Of History ◽  
The Past ◽  
Historical Factors ◽  
Multi Level ◽  
The End Of History

The article explores the problem of constructing concepts of the end of history. The author draws attention to the anthropogenic, social and historical factors of the emergence and increasing of interest to the topic of finiteness of the historical process. He notes its manifestation in eschatological intentions of theological comprehension and philosophical reflection of the meanings of completing the path of humanity from the past to the present. The author reveals the variable dynamics in the methodology of the philosophy of history, the peculiarity of which at the turn of the second and third millennia is seen in the fact that civilizational projects become dominant. F. Fukuyama and S. Huntington create competing concepts of the end of history in their parameters. The article provides a comparative analysis of methodological tools for designing the proposed models. As a result, the author comes to the conclusion about the limitations of the methodological resource of the civilizational approach, the conceptual implementation of which catalyzes the risk-generating character of the functioning of the international community. Developing the ideas of previous publications, he suggests applying a multi-level methodological synthesis based on the principles of differentiation and complementarity. In his opinion, the synthesis of elements of civilizational and formational methodology with moral and axiological semantic orientations of Christian exegetics can present an interesting perspective in this regard.

Building the Temple of Memory: Hegel's Aesthetic Narrative of History

1994 ◽  
Vol 56 (4) ◽  
pp. 697-726 ◽  
Author(s):  
Joshua Foa Dienstag
Keyword(s):  
Liberal Democracy ◽  
Philosophy Of History ◽  
Strong Sense ◽  
End Of History ◽  
The Past ◽  
The World ◽  
Dialectical Reason ◽  
The End Of History ◽  
The Temple

This article examines Hegel's philosophy of history with the intention of once again rendering it strange. Hegel's “historicism” has been accepted for so long that the actual terms of his history are rarely examined afresh. But his account of the past, it is argued here, is best understood through the vocabulary of art and beauty that he develops in the Aesthetics. Historical forms cannot be wholly grasped through the vocabulary of dialectical reason, but ought to be seen as “shapes” in a strong sense. Two principle conclusions follow from this reassessment: The first is that the Philosophy of History is best understood neither as an optimistic account of rational progress, nor as a tale of the “end of history” in liberal democracy, but as an attempt to “seduce us to life”—that is, an attempt to reconcile us to the world through the beauty of history. The second conclusion is that this attempt must fail. It fails because, in his effort to discern beauty in the past, Hegel imposes a completeness upon time that excludes the possibility of a future. Whether intentionally or not, Hegel's pessimism about art is transmitted to his philosophy of history. The Temple of Memory that Hegel builds to shelter our souls ends up imprisoning them instead.

Building Democracy in South Asia: India, Nepal, Pakistan. By Maya Chadda. Boulder, CO: Lynne Rienner, 2000. 247p. $49.95 cloth, $19.95 paper.

2001 ◽  
Vol 95 (2) ◽  
pp. 493-494
Author(s):  
Elliot L. Tepper
Keyword(s):  
Comparative Analysis ◽  
Middle East ◽  
South Asia ◽  
End Of History ◽  
The Past ◽  
The World ◽  
The End Of History

Democracy is in vogue it seems. Everywhere in the world, the forces opposed to democracy seem to be in retreat, and the number of states calling themselves democracies is increas- ing. There are exceptions, of course: parts of Africa, tortured Burma, all over the Middle East, some aging Communist oligarchies, a few proud holdouts in sultanates and mountain monarchies. But they are increasingly anachronisms in the end-of-history world. Or are they? The literature is replete with controversy on the definition, durability, inevitably, and universality of democracy. Into this controversy comes a new book that takes direct aim at the literature of the past decades and provides a badly needed comparative analysis of some of the states in South Asia. Maya Chadda's goals are clear and ambitious: to bring the neglected experience of South Asia to the attention of a wider audience, in the context of the most central debates about the nature of democracy.

The End of History Museums: What's Plan B??

2008 ◽  
Vol 30 (4) ◽  
pp. 9-27 ◽  
Author(s):  
Cary Carson
Keyword(s):  
Historic Sites ◽  
The Public ◽  
End Of History ◽  
House Museums ◽  
The Past ◽  
History Museums ◽  
Plan B ◽  
The End Of History ◽  
The Way

Abstract Are historic sites and house museums destined to go the way of Oldsmobiles and floppy disks?? Visitation has trended downwards for thirty years. Theories abound, but no one really knows why. To launch a discussion of the problem in the pages of The Public Historian, Cary Carson cautions against the pessimistic view that the past is simply passéé. Instead he offers a ““Plan B”” that takes account of the new way that learners today organize information to make history meaningful.

Hegel and the End of History

1991 ◽  
Vol 12 (1-2) ◽  
pp. 15-23
Author(s):  
Rüdiger Bubner
Keyword(s):  
Nineteenth Century ◽  
Historical Thinking ◽  
Philosophy Of History ◽  
List Type ◽  
Historical Time ◽  
End Of History ◽  
The End Of History

In what follows Hegel's philosophy of history as the zenith in historical thinking will be considered from three perspectives.II will begin by discussing the two major reactions among Hegel's nineteenth century successors to the problem of historical finality.IIThen I will go back to Hegel himself in order the analyze the speculative claims of his system with regard to historical time.IIIAnd finally, I will clarify the role played by those formal structures in historical reflexion which continue to fuel the controversy over what Hegel meant by the end of history.

The End of History? New Historicism?

Tekstualia ◽  
2013 ◽  
Vol 1 (1) ◽  
pp. 181-201
Author(s):  
Edward Kasperski
Keyword(s):  
New Historicism ◽  
Historical Process ◽  
End Of History ◽  
The End Of History ◽  
Historical Thought

The author of the articles shows that New Historicism has achieved a significant revaluation of ideas shaping literary and historical thought It has also questioned models which had long existed in historical studies and interpretation, by opposing ahistorical and pseudo-historical doctrines, contesting the absolutization of synchrony, the principle of immanence, aesthetic interpretation, and modernizing hermeneutics. For instance, it has revoked the Hegelian uniform and one-sided vision of a universal historical process, rightly accusing it of philosophical apriority and political Eurocentrism.

Recognition, Deference, and Respect: Generalizing the Lessons of an Asymmetric Asian Order

2009 ◽  
Vol 16 (1-2) ◽  
pp. 105-118 ◽  
Author(s):  
Brantly Womack
Keyword(s):  
The West ◽  
Meiji Japan ◽  
End Of History ◽  
Western Modernity ◽  
The Past ◽  
Rise Of China ◽  
History Of ◽  
World Economic ◽  
The End Of History ◽  
Insight Into

AbstractAs many distinguished academics and officials have pointed out, the current rise of China is not a completely new phenomenon, but rather the return of China to a position of regional centrality and world economic share that were considered normal less than two hundred years ago.1 This fact underlines the importance of history in putting the present into perspective, and at the same time, to the extent that all history is history of the present, it requires a reevaluation of the structure of China's traditional relationships. Hitherto, China's place in modern social science has been in an exotic corner, a failed oriental despotism. To be sure, traditional China did collapse, and today's China is a different China rising in a different world. We might assume that China is rising now precisely because of its differences from traditional China, that it is the last step toward the end of history rather than a resonance with the past. However, the convenience of such an assumption makes it suspect. If China is simply the latest avatar of Western modernity, then it requires of the West some readjustment, but not rethinking. However, the only certainty about China's rise is that it is a complex phenomenon, and the convenience of constructions such as China-as-Prussia or China-as-Meiji Japan derives from their preemption of open-ended study rather than from their insight into complexity. To the extent that China is China, both past and present require reconsideration.

The enduring stuff of narrative

2011 ◽  
Vol 4 (1) ◽  
pp. 1-17
Author(s):  
Toon Staes
Keyword(s):  
Contemporary Society ◽  
Historiographic Metafiction ◽  
End Of History ◽  
Postindustrial Society ◽  
The Past ◽  
The Sublime ◽  
The End Of History ◽  
The Individual

The reevaluation of the past in Don DeLillo’s Underworld and Cosmopolis can be seen as a valuable counterargument to Francis Fukuyama’s triumphalistic claim that contemporary society heralds the end of history. The sublime multiplicity of history in both novels illustrates how time eventually collapses in the eternal present of capital and technology. Consequently, it appears that postindustrial society draws in the individual to create a system with no outside. DeLillo’s historiographic metafiction nonetheless shows how rewriting the past can prevent history from being conclusive and teleological. Narrative therefore provides an alternative to established History — in which all events connect in light of the inevitable — but it also resists the solipsistic void of speculation and hearsay.

HISTORY AND ITS ENDS IN CHARTIST EPIC

2009 ◽  
Vol 37 (1) ◽  
pp. 27-42 ◽  
Author(s):  
Pamela K. Gilbert
Keyword(s):  
New World ◽  
Religious Tradition ◽  
The Political ◽  
National Narratives ◽  
End Of History ◽  
The Past ◽  
The World ◽  
History Of ◽  
The End Of History ◽  
Long Poems

In the mid-1800s, two significant and widelyread Chartist poems appeared, both written in prison by Chartist organizers, and both using the epic form to interrogate the present, body forth a utopian future, and rewrite a history conceived both as broadly human and specifically national. These long poems, Thomas Cooper'sPurgatory of Suicides(1845) and Ernest Jones'sThe New World, first published in 1851 and then republished after 1857 as theRevolt of Hindostan, have much to tell us about how radicals envisioned the history of Britain, its relationship with empire, and the fulfillment of the ends of history. Cooper's poem proceeds in ten books, written in Spenserian stanzas, in which he dreams of visiting a purgatory of suicides: mythical and historical personages who have committed suicide debate the reasons for their condition and the condition of the world. Jones's poem was written in couplets, supposedly on the torn pages of a prayer book, in his own blood. The poem surveys the rise and fall of multiple empires, and also surveys recent political history closer to home. The two poems look to the past and the future, to universal history and its end. They thus participate in utopian political discourse, with its emphasis on the end of history, as well as the epic tradition. Both utopian and epic discourse in this period were affiliated with specifically national narratives, and the internationalist and universal elements of the poems sometimes inhabit these genres uneasily. Additionally, both poets attend to the religious tradition of eschatological discourse that underlies the secular notion of the end of history, and work to reconcile it with the political vision they are promoting. These writers use unique combinations of spatial and temporal frames to achieve the reconciliation of their diverse goals with the genres and discourses that they claim and transform.

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