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Forty years ago, German historian Reinhart Koselleck coined the notion of ‘asymmetrical concepts’, pointing at the asymmetry between standard self-ascriptions, such as ‘Hellenes’ or ‘Christians’, and pejorative other-references (‘Barbarians’ or ‘Pagans’) as a powerful weapon of cultural and political domination. Advancing and refining Koselleck’s approach, Beyond ‘Hellenes’ and ‘Barbarians’ explores the use of significant conceptual asymmetries such as ‘civilization’ vs. ‘barbarity’, ‘liberalism’ vs. ‘servility’, ‘order’ vs. ‘chaos’ or even ‘masters’ vs. ‘slaves’ in political, scientific and fictional discourses of Europe from the Middle Ages to the present day. Using an interdisciplinary set of approaches, the scholars in political history, cultural sociology, intellectual history and literary criticism bolster and extend our understanding of this ever-growing area of conceptual history.
Die International Bibliographiy of Historical Sciences verzeichnet jährlich die bedeutendsten Neuerscheinungen geschichtswissenschaftlicher Monographien und Zeitschriftenartikel weltweit, die inhaltlich von der Vor- und Frühgeschichte bis zur jüngsten Vergangenheit reichen. Sie ist damit die derzeit einzige laufende Bibliographie dieser Art, die thematisch, zeitlich und geographisch ein derart breites Spektrum abdeckt. Innerhalb der systematischen Gliederung nach Zeitalter, Region oder historischer Disziplin sind die Werke nach Autorennamen oder charakteristischem Titelhauptwort aufgelistet.
This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games – the origin of all cultural activity, the dialectic chaos-order, axial civilizations – the germ of our time, and the struggle between generations – a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken.