Modernity Strikes Back? A Historical Perspective on the Latest Increase in Interpersonal Violence (1960-1990)

There is a plethora of criminological explanations why criminal violence increased during the three decades between the early 1960s and the early 1990s. This paper argues that most available interpretations are lacking in three respects: they lack a historical perspective that anchors the three critical decades in a wider understanding of long-term trends; they take the nation-state as their unit of analysis and disregard important commonalities across the Western world; and they pay insufficient attention to different trends in broad categories of physical violence.This paper therefore takes a macro-level and long-term perspective on violent crime, focussing on European homicide during the past 160 years. It demonstrates that the period of increase was preceded by a long-term decline and convergence of homicide rates from the 1840s to the 1950s. Also, it shows that both the decline and the increase primarily resulted from temporal variation in the likelihood of physical aggression between men in public space. It argues that explanations of these common trends need to take into account broad long-term cultural change common to Western societies. In particular, the paper suggests that shifts in culturally transmitted and institutionally embedded ideals of the conduct of life may provide an explanation for long-term change in levels of interpersonal violence.

Dutch boundaries

In many schools of architecture the 1970s have been an important watershed for the way in which architecture was taught. For example, recent studies have stressed the importance of Aldo Rossi for the changes in the teaching of architec-ture at the ETH in Zürich that before was based on orthodox modern principles. A similar struggle between an orthodox conception of modernity and its criticism took place at the architectural faculty of Delft, in the Netherlands. Although Delft is an important European school of architecture, the theoretical work produced during this period is not largely known outside the Netherlands. This is perhaps due to the fact that most studies were published in Dutch. With this article, I intend to make the architectural theory developed during this period known to a larger public. The article describes the intellectual journey made by Dutch stu-dents of architecture in the 1970s and 1980s. This was the quest to receive recognition for the intellectual substance of architecture: the insight architecture could be a discourse and a form of knowledge and not only a method of building. Specifically, the work of the architectural theoretician Wim Nijenhuis is highlight-ed. However, as I point out in this article, the results of this journey also had its problematic sides. This becomes clear from the following sentence taken from the dissertation of Wim Nijenhuis: "The search for metaphysical fiction and the tendency towards a technological informed absolute through fully transparent and simultaneous information, should be contested by a fantasy dimension, that does not wish to 'overcome' a given situation and that does not rely on 'creativi-ty' (that would still be historical and humanistic)." Texts like this have a hermet-ic quality that is not easy to comprehend for an architectural public. Even more, there is an important debate looming behind these sentences. As an important outcome of their quest the architectural students in Delft asked themselves: how do we give form to architectural theory once its claim to truth is exposed as an illusion? For Nijenhuis, the discourse about architecture is a mere 'artful game with words': a fiction, besides other forms of fiction like poetry or literature. The question is then if we have not entered the realm of total subjectivity and relativ-ism with this position. From what can the discourse of architecture derive its authority after the death of God?