Intellectual History
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Caricature can be defined as an art engagé which aims to transmit a social or political message. In order to achieve this goal, the satirical picture triggers an emotional reaction in the audience and guides it through a cathartic coming-of-awareness process. The feelings evoked by caricature must not necessarily be expressed through laughter; but they are a joyful or indignant shock reaction to gazing at something absurd. William A. Coupe, following Schiller, therefore defines the nature of caricature as the outcome of a dialectical struggle between the ideal and the real: ‘This conflict of ideal and real may, however, be seen and expressed in two different ways, in an emotional and serious or in a humorous and jesting fashion.’
Having for a long time been an area of research mainly reserved for specialists in international relations and political scientists, the international organizations (IOs) that first emerged in the twentieth century’s pre-World War II decades have also attracted renewed interest of historians for the past several years. This development has its place in a movement of ‘globalization’ within the discipline, evident in both themes and practice. The nation, the region, and the village remain pertinent units for study, but the historian interested in global history approaches them in relation to other spaces, reflecting renewed attention to connections and forms of circulation traditionally neglected in specialized studies. As will be argued below, in their role as observation posts, the IOs and international associations here comprise an especially productive area of research, in effect opening access to work on complexly intermeshing ‘circulatory regimes’.
What have been the contributions of social memory studies to the discourse of German history, particularly about the Nazi past? This essay seeks to distinguish between the memory boom in politics and culture and the more durable insights of social theory and historiography about memory, including insights about this memory boom itself. In particular, it explores mythologies of ‘turning points’ in the discourse of memory, arguing that the attribution of such turning points is often overstated. To be sure, 1989 did mark significant ruptures. But comparing present debates to the Historikerstreit (historians’ dispute) of the mid-1980s, and the Historikerstreit to earlier debates shows that as much has stayed the same as has changed. We remember not just the Nazi past, but the previous ways in which we have remembered the Nazi past, and our mnemonic practices are as much comments on earlier practices as on the event itself.
The Production of Space by Henri Lefebvre (1901-1991) is widely considered to be one of the most important books which facilitated the ‘spatial turn’ in social and cultural theory by introducing space, as an interpretative concept, into sociological, political, economic, historical and cultural analysis. This reorientation was the programmatic objective of this book which aimed to relate and define ‘all possible spaces, whether abstract or real, mental or social’ (p. 299), and thus account for a wide range of spaces, from those of the body to those of the planet.