Terror, Trauma and the 'Young Marx' Explanation of Jacobin Politics

Histor

Dialogues With the Dead: Enlightened Selves, Suicide, and Human Rights

Since ancient times, the theme of suicide has been linked to the concept of a «dialogue with the dead». That genre, made popular by Lucian and widespread in the seventeenth and eighteenth centuries, comes to represent the possibility of transcending the limits of selfhood and of local customs. In neoclassical literature, the contrasts and comparisons inherent in the dialogue form or in epistolary fictions enable the exploration of universal truths about natural law and natural rights. The realm of the dead is ultimately democratic. The narrative displacement of the scene to an encounter on the margins with the Ancients or with heroic rebels in the New World permitted Enlightened political writers such as Montesquieu, Voltaire, or Condorcet to escape censorship. In exploring the philosophic grounds for republican thought, eighteenth-century writers draw on suicidal protagonists who are not only geopolitically «Other» but female, to dramatize their claims to universal human rights.Desde antiguo, el tema del suicidio ha estado vinculado al concepto de «diálogo con los muertos». Este género, popularizado por Luciano y difundido durante los siglos XVII y XVIII, representa la posibilidad de trans- cender los límites del yo y las costumbres locales. En la literatura neoclásica, los contrastes y comparaciones inherentes al diálogo o en las epístolas fic- cionales permitieron explorar verdades universales acerca de la ley natural y los derechos humanos. El dominio de los muertos es en última instancia democrático. El desplazamiento narrativo de la escena a un encuentro en los márgenes con los antiguos o con los rebeldes heroicos del Nuevo Mundo hizo posible que los escritores políticos de la Ilustración, como Montesquieu, Voltaire o Condorcet, sortearan la censura. Al explorar los fundamentos filosó- ficos del pensamiento republicano, los escritores del siglo XVIII recurrieron a protagonistas suicidas que no son sólo el Otro en términos geopolíticos, sino también femeninos con el fin de dramatizar sus argumentos sobre los derechos humanos universales

Classification of Italian banks

Caption titleHandwritten on leaf [1]: C/53-10. 143At head of title: Economic Development. Italy. Economics/4. April 10, 1953. M. HigonnetMimeographe

X-Ray Vision: Women Photograph War

Les innovations technologiques qui accompagnaient la Première Guerre Mondiale ont donné lieu non seulement à un nouveau type de guerre “totale”, aux effets dévastateurs, mais ont également modifié le regard porté sur cette guerre, d'un point de vue médical et militaire. Alors que le regard médical se glissait à l'intérieur du corps, le regard militaire, lui, s'éloignait, se distanciant du regard direct du combattant. Simultanément, la révolution dans les relations homme-femme donnait une nouvelle place à la femme sur le front, mais aussi derrière l'objectif de son appareil photographique. En s'appuyant sur les travaux de la photographe professionnelle, Olive Edis, cet article propose d'abord une exploration des trois fonctions testimoniales de la photographie, concernant l'identité, le travail et l'inscription dans un lieu de la photographe, pour aborder ensuite les mémoires de deux femmes ayant travaillé avec la Croix Rouge, Florence Farmborough et Margaret Hall : leurs témoignages nous révèlent l'avènement d'un nouveau genre, un collage juxtaposant récits et photos de guerre : le “photo-texte”.During World War I not only did technical revolutions produce a new, devastatingly “total” type of war, but they also changed the way war was seen, both from a medical and a military perspective. While the medical gaze probed the interior of bodies, the military gaze pulled away from the immediacy of the combatant’s gaze. The accompanying gender revolution placed women in new positions, both on the front line and behind the camera. Using the work of professional photographer Olive Edis this article first explores the three testimonial functions of photography concerning the photographer’s identity, tasks and physical location, before turning to the memoirs of two Red Cross workers, Florence Farmborough and Margaret Hall, which suggest that a particular war genre arose at the moment when women created scrapbooks that combined photographs with their memoirs: the “photo-text”

Brilliance of a fire: innocence, experience and the theory of childhood

This essay offers an extensive rehabilitation and reappraisal of the concept of childhood innocence as a means of testing the boundaries of some prevailing constructions of childhood. It excavates in detail some of the lost histories of innocence in order to show that these are more diverse and more complex than established and pejorative assessments of them conventionally suggest. Recovering, in particular, the forgotten pedigree of the Romantic account of the innocence of childhood underlines its depth and furnishes an enriched understanding of its critical role in the coming of mass education - both as a catalyst of social change and as an alternative measure of the child-centeredness of the institutions of public education. Now largely and residually confined to the inheritance of nursery education, the concept of childhood innocence, and the wider Romantic project of which it is an element, can help question the assumptions underpinning modern, competence-centred philosophies of childhood

Medicos, poultice wallahs and comrades in service: masculinity and military medicine in Britain during the First World War

The subject of British military medicine during the First World War has long been a fruitful one for historians of gender. From the bodily inspection of recruits and conscripts through the expanding roles of women as medical care providers to the physical and emotional aftermath of conflict experienced by men suffering from war-related wounds and illness, the medical history of the war has shed important light on how the war shaped British masculinities and femininities as cultural, subjective and embodied identities. Much of this literature has, however, focused on the gendered identities of female nurses and sick and wounded servicemen. Increasingly, however, more complex understandings of the ways in which medical caregiving in wartime shaped the gender identities of male caregivers are starting to emerge. This article explores some of these emerging understandings of the masculinity of male medical caregivers, and their relationship to the wider literature around the complex and sometimes contradictory relationship between warfare and medicine. It examines the ways in which the masculine identity of male medical caregivers from the ranks of the Royal Army Medical Corps, namely stretcher bearers and medical orderlies, was perceived and represented both by the men themselves and those they cared for. In doing so it argues that total war played a crucial role in shaping social and cultural perceptions of caregiving as a gendered practice. It also identifies particular tensions between continuity and change in social understandings of medical care as a gendered practice which would continue to shape twentieth-century British society in the war’s aftermath

Honores y renuncias: la escultora argentina Lola Mora y la fuente de los debates

Lola Mora (1867-1936) fue la más halagada y discutida escultora argentina de\ud los últimos años del siglo XIX y comienzos del siglo XX. La prensa escrita de Buenos Aires\ud sigue el desarrollo de su carrera artística desde la llegada del viaje de estudios en 1900 y\ud la convierte en protagonista principal monopolizando así la atención de los cronistas. El tema\ud de este trabajo de investigación es una de sus obras más conocidas: la Fuente de las Nereidas\ud o denominada popularmente Fuente de Lola Mora, conjunto escultórico de mármol de Carrara\ud que se inaugura el 21 de mayo de 1903 en el Paseo de Julio. Esta investigación abordará\ud las cuestiones que se debatieron en torno a este conjunto escultórico en relación al\ud emplazamiento original en 1903, que lo transforma en un proceso particular ya que hasta\ud ese momento nunca se habían producido discusiones de tales características en torno a una\ud obra decorativa para la ciudad