Introduction: The Project of Historiography Section 1: Beginnings - East and West Introduction 1.1 Asian Historiography: Two Traditions 1.2 Historiography and Greek Self-Definition .3 Re-Reading the Roman Historians 1.4 The Historiography of Rural Labour 1.5 Towards Late-Antiquity Section 2: The Medieval World Introduction 2.1 The Historiography of the Medieval State 2.2 Saladin and the Third Crusade 2.3 Family and Household 2.4 The Medieval Nobility 2.5 Armies and Warfare 2.6 Popular Religion Section 3: Early-Modern Historiography Introduction 3.1 The Idea of Early Modern History 3.2 The Scientific Revolution 3.3 Intellectual History 3.4 The English Reformation 3.5 Popular Culture in the Early-Modern West 3.6 Revisionism in Britain Section 4: Reflecting on the Modern Age Introduction I: Revolution and Ideology 4.1 The French Revolution 4.2 The Soviet Revolution 4.3 National Socialism in Germany 4.4 Fascism and Beyond in Italy 4.5 Orientalism London: II Area Studies 4.6 China 4.7 Japan 4.8 India 4.9 Africa 4.10 North America 4.11 Latin America Section 5: Contexts for the Writing of History I: Hinterlands 5.1 History and Philosophy 5.2 History and Anthropology 5.3 History and Archaeology 5.4 History of Art II: Approaches 5.5 The Historical Narrative 5.6 The Annales School 5.7 Marxist Historiography 5.8 Women in Historiography 5.9 Comparative World History 5.10 Archives and Technology

Companion to Historiography

This article investigates occupational identity construction among contemporary Canadian professional visual artists. Through in-depth, semi-structured interviews I draw on the perceptions and subjective experiences of 80 Toronto visual artists to explore how individuals consciously articulate and act upon an occupational identity that they have carefully and deliberately chosen. I demonstrate how the informal nature of artistic occupational definitional parameters can render the title ‘professional artist’ an empty signifier. Given the limited means of clearly distinguishing between professional and amateur, and the lack of recognition attributed to artistic labour as ‘real’ work, I argue that professional status comes largely from drawing on a repertoire of shared myths and stereotypes to help create an artistic identity and project it to others.

Constructing an artistic identity

This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose what Bauman has called `thinking sociologically' with a proposition that art thinks aesthetically. So how can art historians deal with that challenge of thinking aesthetic practices both socially and historically? I track a genealogy of art historians (Clark, Antal, Shapiro) who have attempted to think socially about artistic practices. This leads into a section about the necessity for both sociological and aesthetic education if we are to avoid totalitarianism or free-market individualism (Bahro). Finall...

Thinking sociologically thinking aesthetically. Between convergence and difference with some historical reflections on sociology and art history

Prologue and preamble The views of Collingwood can be summarized as follows. The philosophy of history is concerned neither with ‘the past by itself’ nor with ‘the historian's thought about it by i...

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Information Systems History: What is History? What is is History? What is History? … and Why Even Bother with History?:

Identity and belonging increasingly feature as themes in the work of contemporary artists, a focus that seems particularly felt by those artists who either personally or through their families have experienced dispersal and migration. The thesis explores how fourteen Algerian and Franco-Algerian artists position themselves and are positioned by others to identity and community. The difficult intertwined histories of Algeria and France fraught with the consequences of colonisation, the impact of migration, and, in Algeria, civil war, provides a rich terrain for the exploration of identity formation. Positionality theory is used to analyse the process of identity formation in the artists and how this developed over the course of their careers and in their art. An important part of the analysis is concerned with how the artists positioned themselves consciously or inadvertently to fixed or fluid conceptions of identity and how this was reflected in their artworks. The thesis examines the complex politics of identity and belonging that extends beyond nationality and diaspora and implicates a range of other identifications including that of class, ethnicity, gender, sexuality and career choice. The research addresses a gap in contemporary art scholarship by targeting a specific group of artists and their work and examining how they negotiate, in an increasingly globalised world, their relationship to identity including nationality and diaspora. The thesis foregrounds the ways in which this negotiation interacts with their careers, their art and the art market. 
The thesis begins with an outline of the methodological approach. Positioning to identity is then examined in the background, education, professional development and art of three international artists, Kader Attia, Adel Abdessemed and Saâdane Afif. Analysis then focuses on the artwork of the eleven remaining artists through the themes of history and memory, journey and narrative and gendered space.

Identity and Positioning in Algerian and Franco-Algerian Contemporary Art

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Caroline Osborne

Papers

Old Mistresses: Women, Art and Ideology