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Moral agents have moral choice. This chapter argues that moral choice denies historical inevitability when moral choice is informed by both moral imagination and historical imagination. I explore this by way of one specific historical example which should be used, as the philosopher Bernard Mayo argued, as a moral exemplar. In pursuing my arguments I utilise work by Sir Isaiah Berlin, amongst others. I do though take issue with Berlin, whom I argue has confused not the nature but the role of historical imagination, claiming dominance for it where it cannot dominate. I conclude with historical inevitability being refuted by moral choice, informed by both moral imagination and historical imagination.I argue that the refutation of historical inevitability has implications for Australian businesses in their current dealings with the People’s Republic of China. Australia escaped the Global Financial Crisis because of Chinese purchases of Australian commodities. But Australian business in trading with China is trading with an unjust regime. Hoffman and McNulty (2009) argue that regarding a regime such as China we can ‘learn from our past’. Regarding the past I argue that Australian business executives dealing with China would benefit by studying the historical example of Churchill’s May 1940 decision and should use that as a moral exemplar. Earlier generations of Australian managers contemptuously dismissed Chinese workers. The current generation of Australian managers, who fail to morally acknowledge China’s workers and citizens, risks being equally contemptuous, dismissive and racist.

Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork.

To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production.

Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination.

This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.

Felicitous writing is enormously important. However, the art of writing well is rarely addressed by marketing scholars. This paper seeks to argue that the marketing academy has much to learn from historiography, a sub‐discipline devoted to the explication of historical writing.

Although it is primarily predicated on published works, this paper is not a conventional literature review. It relies, rather, on the classic historical method of “compare and contrast”. It considers parallels between the paired disciplines yet notes where marketing and history diverge in relation to literary styles and scientific aspirations.

It is concluded that marketing writing could benefit from greater emphasis on “character” and “storytelling”. These might help humanise a mode of academic communication that is becoming increasingly abstruse and ever‐more unappealing to its readership.

If its argument is accepted by the academic community – and, more importantly, acted upon – this paper should transform the writing of marketing. Although the academic reward systems and power structures of marketing make revolutionary change unlikely, a “scholarly spring” is not inconceivable.

The paper's originality rests in the observation that originality is unnecessary. All of the literary‐cum‐stylistic issues raised in this paper have already been tackled by professional historians. Whether marketers are willing to learn from their historical brethren remains to be seen.

Augmented reality (AR), an innovative interactive technology that can realize the synchronization and integration of virtual and reality, has been widely used in commodity displays and museum exhibitions. However, few studies have examined the effectiveness of AR-based product display in the context of historically cultural and creative product (HCCP) marketing. This study aims to focus on whether and how the application of AR technology to the HCCP display will influence consumers’ product evaluation.

This study uses three experiments to examine the impact of an AR-based product display on consumers’ evaluation of HCCPs. In experiments 1 and 2, the researchers compared the consumer’s evaluation of HCCPs under the AR-based product display condition and two other display conditions (i.e. 3D model display and photographic display) and examined the mediating role of perceived authenticity in the evaluation process. Experiment 3 tested the moderating effect of the availability of artistic detail information on weakening the negative impact of AR-based product display on the evaluation of HCCPs.

This study found that using AR-based displays harms consumers’ evaluation of HCCPs by impairing perceived authenticity. The spatial-temporal cues of real-time circumstances impede consumers’ processing of the historical attributes of the product. The dynamic AR-based display makes it hard for consumers to build the product’s connection with historical prototypes. Thus, consumers’ perception of the authenticity of HCCP is reduced. Providing artistic details during the presentation makes artistic attributes more prominent than historical attributes, allowing consumers to pay more attention to the sensory experience caused by the artistic design instead of the spatial-temporal cues of the product. At this point, the negative impact of AR-based product display on the evaluation of HCCPs will be attenuated.

First, this study shows the adverse effects of AR-based product displays in the field of HCCP marketing. AR-based product display degrades product evaluations when the displayed product has historical attributes. Second, this study extends the perceived authenticity theory to the technological experience context and establishes a theoretical connection with the AR literature. Third, this study explores the multiple characteristics of HCCPs. The historical attributes are the central attribute of HCCPs, leading consumers to perceive lower sense of authenticity due to the conflict with real-time spatiotemporal cues risen from the AR-based display. However, the artistic attributes, which are beyond the limitation of time and space, will attenuate this conflict when they become prominent.

The purpose of this paper is to consider historical shifts in the mobilisation of the concept of radical in relation to Australian schooling.

Two texts composed at two distinct points in a 40-year period in Australia relating to radicalism and education are strategically juxtaposed. These texts are: the first issue of the Radical Education Dossier (RED, 1976), and the Attorney General Department’s publication Preventing Violent Extremism and Radicalisation in Australia (PVERA, 2015). The analysis of the term radical in these texts is influenced by Raymond Williams’s examination of particular keywords in their historical and contemporary contexts.

Across these two texts, radical is deployed as adjective for a process of interrogating structured inequalities of the economy and employment, and as individualised noun attached to the “vulnerable” young person.

Reading the first issue of RED alongside the PVERA text suggests the consequences of the reconstitution of the role of schools, teachers and the re-positioning of certain young people as “vulnerable”. The juxtaposition of these two texts surfaces contemporary patterns of the therapeutisation of political concerns.

A methodological contribution is offered to historical sociological analyses of shifts and continuities of the role of the school in relation to society.

This chapter argues that Albert Camus's post-World War II novella The Fall narrates a bridge of complicity between medicine and law, implicating both professions in the Nazi formulation of race. Rather than reading the work as a broadly construed allegory of the Holocaust, it situates Camus's text within the framework of the Nuremberg trials and their judgment of perpetrators in professional rather than in wide-ranging moral terms. The essay concludes by examining Camus's use of the subjunctive, which posits juridical force as the act of imagining alternatives to the past, and using these alternative scenarios as a basis for judgment.

This chapter focusses on current debates on ‘locating metal’ and on the demand for more theoretical and methodological rigor in metal studies. As an example of the usage of a non-English language in metal, the author examines the empirical case of the usage of Austrian German and Austrian dialects in metal music since around 1990. Herein, the author will be using the disciplinary methodologies of history and analyse the two Austrian bands Alkbottle and Varulv. According to the theory of ‘sonic knowledge’, the case study is interpreted as an example of ‘locating metal’ that occurred in the Austrian metal scene. The chapter shows that the seemingly contradictory coexistence of both deconstructive irony and essentialist nationalism is characteristic of the usage of Austrian German in metal. To conclude, the author proposes that this paradox is a result of the broad cultural history of Austrian nation building after 1945. The paradox of the usage of Austrian dialects in metal is the metal scene's attempt at coping with the frictions of Austria's twentieth century history.

This chapter argues that the process of imagination is molded by the intersecting notions of space, time, and measurements. It shows that economic spaces are shaped by notions of particular space-time held by historical actors and by imaginations of their past and future fictional spaces. The case study of colonial period South Asia examines how financial accounting and other measurements were co-opted to give form to future “fictional” expectations. South Asian economic spaces are shown to be the locus for control and dominance of future economic relationships, which were visualized in particular ways by the colonial rulers.

A conclusion reached is that economic spaces are not just enclosed spaces within borders where economic activity occurs shaped by the dominant culture and economy of a state. The economic spaces in colonial India were sites of economic conflict and violence, where contesting notions of economic time collided, and where widely contrasting economic futures were imagined. Indian nationalists looked into the past to spur their imagination of a different future for India. In fact, the conflict or violence that was part of the recasting of India’s national economic space was not entirely between racial groups (European colonists and native Indians) or strictly between economic classes (bourgeoisie upper castes and proletariat lower castes). Contrary expectations amongst the nationalists themselves are apparent. The process of imagination reveals the ensemble of cultural, social, and technical practices that actors used to give form to fictional expectations of the future and the spatialisation of economic spaces.

Defined as perceiving the past via the lens of former peoples, historical empathy engenders rich cognitive and affective understandings. Drawing on Ricoeur's hermeneutics (1981, 2004), this paper departs from previous work on historical empathy by conceiving empathy as dialogically mediated by sociocultural and narrative perceptions.

This hermeneutic phenomenology explores eight adolescents' engagements with primary sources from the Second World War.

This study reveals the power of empathy to draw the students into the past and to investigate sources. Alternately, the students struggled with fanciful elaborations and overidentifications with historical figures.

Cultivating wise judgments begins with accepting the inherent link between students' historicity and historical empathy and then teaching students to wisely interpret.

This study broadens historical empathy's framework to include Ricoeur's hermeneutic philosophies of narrative and history.