If we survey the historical profession at the moment, there are plenty of academic squabbles going on, but the great debates that once divided historians seem to be in short supply. Time was when contests over the standard of living during the industrial revolution or about post-modernism and its application to the study of history would drive scholars into a frenzy of position taking.
With contemporary Japanese-Korean relations so inextricably entrenched within contentious politics of national identity and divergent expressions of historical consciousness, Jun Uchida’s Brokers of Empire could not be a more welcome addition to the field of modern East Asian history.
Knowledge is power. Over the last three decades this old aphorism of political philosophy has been central to the study of colonialism in history, anthropology, and literary and cultural post-colonial studies. Revised and re-launched in social theory by Michel Foucault, the theme gained momentum after the publication of Edward Said’s highly influential book, Orientalism, in 1978.
A closer look at the rhetoric surrounding the current Ukrainian-Russian conflict reveals it is as much about past as about the present or future. Not only have both sides regularly resorted to historical arguments, turning the past into yet another battleground in a ‘hybrid war’, but outside observers also look to the past in search for answers and explanations.
In The Ethnographic State: France and the Invention of Moroccan Islam, Edmund Burke does the important work of historicizing colonial-era research on Morocco and Moroccans.
In this history of representations and knowledge formation Sanjay Subrahmanyam turns a historian’s gaze to the problems both implicitly and explicitly embedded in all histories of the early modern and modern world: why did Europeans represent and construct India and by extension, the non-European world in the ways that they did? Why and how did these constructs evolve?
In Enslaved Women in America: From Colonial Times to Emancipation, Emily West masterfully presents the narrative of women’s lived experiences in slavery through the prism of gender.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
In Colonial Al-Andalus, Professor Eric Calderwood explores the origin of a claim widely promoted in Moroccan tourism, arts, and literature and finds its roots in Spain’s colonial rhetoric.