School of Historical Studies
Most violent conflicts today are fought within states, and many are related to identity. They are, therefore, inextricably linked to how people perceive their history. How political leaders view and use history and historical narratives, often as the foundation for their claims, has a great impact on negotiations and can hold a peace process hostage.
In this lecture, Michael van Walt van Praag, Visiting Professor in the School of Historical Studies, offers a mediator’s perspective on ways to examine pertinent historical events and historiography in order to facilitate a change in the way negotiators relate to the other party’s history, as well as to their own. In so doing, he also considers the relation of modern international law and the nation-state concept to today’s conflicts.
From the very beginnings of cinematography, themes from the ancient world and the Bible have provided directors and screenwriters with inspiration. The representation of antiquity in the movies, and more generally in pop culture, is now a stimulating field of research within classical studies. In the last decade, perhaps no film has attracted so much interest and debate among historians and classicists as Oliver Stone’s Alexander (2004). In this talk, Stone discusses his experience making this movie, its challenges, and, more generally, his approach to historical themes.
A panel discussion and a question-and-answer session follow the talk. The panel, chaired by Angelos Chaniotis, Professor of Ancient History and Classics in the School of Historical Studies, also includes two current Members, Nathanael Andrade, Assistant Professor of Ancient History at the University of Oregon, and Yannis Hamilakis, Professor of Archaeology at the University of Southampton, and the acclaimed director and film historian Gary Leva.
In the past ten years, the term “heritage” in African art studies has gone from being a cliché used only by cultural bureaucrats to a burgeoning academic growth industry, brought into being by studies of collective memory or national trauma in relation to both historical and invented pasts. In this lecture, Sidney Kasfir, Professor Emerita at Emory University, asserts that one of the important ways heritage is given substance as an idea is through memorialization, both through public monuments and smaller-scale artworks. In Buganda, a long-embattled African kingdom, these works of art and architecture give substance to memories of greatness, on the one hand, and victimhood, suffering, and loss, on the other.
Late medieval and Renaissance painters in northern Europe took pride in characterizing the forms of attention specific to the votive encounter. Amidst the hubbub of the Crucifixion, certain witnesses to the event are shown poised between acceptance and rejection of the dying man as the Christ of prophecy. These figures allowed beholders to measure their own response to Jesus’s paradoxical identity along a spectrum between seeing and blindness, between discipleship and reprobacy. Captured in the dawning of their comprehension, such characters embodied that passage from ignorance to knowledge that Aristotle, in The Poetics, called “recognition” (anagnôrisis). In this lecture, Mitchell Merback, Associate Professor of Art History at Johns Hopkins University, argues that to speak of a Christian poetics of disclosure in early modern art requires first understanding how recognition was elevated to a grand theme—and a galvanizing meta-theme—in the brilliantly naturalistic art produced north of the Alps.
This lecture is part of a series on art history cosponsored by the Institute for Advanced Study and the Department of Art and Archaeology at Princeton University.