ABSTRACTWe can easily misread historical texts if we take ideas and passages out of their textual contexts. The resulting errors are widespread, possibly even more so than errors through reading ideas and passages out of their historical contexts. Yet the methodological literature stresses the latter and says little about the former. This paper thus theorises the idea of textual context, distinguishes three types of textual context, and asks how we uncover the right textual contexts. I distinguish four kinds of textual-context (...) error, and offer practical tips for avoiding these errors. However, the beating heart of this paper is the history–philosophy debate: in contrast to the prevailing assumption that historical and philosophical analysis are fundamentally different, I show that a commitment to textual context, which should be entirely uncontroversial, also commits one to think philosophically. (shrink)

This paper presents a framework of four types of meaning and understanding in the history of political thought and intellectual history. Previous frameworks have overlooked a whole type of meaning – the type often prioritised by political theorists and philosophers. I call this “extended meaning.” Correcting a wrong turn in philosophy of language in the 1950s, I show how extended meaning has robust intellectual foundations, and I illustrate its value for textual interpreters. Even historians often need extended meaning, for example (...) to help resolve ambiguous passages. So, the main types of meaning are not alternatives: scholars interested in one kind of meaning still need others. This paper thus celebrates both diversity and unity. (shrink)

Although it is commonplace for political scientists to draw upon historical thinkers and the ‘great books’ of the past, the practice of using historical works as reference points for contemporary issues remains under-investigated. To address this practice, this article is positioned at the crossroads of social science and intellectual history. By examining the relationship of political economists Elinor and Vincent Ostrom with Alexis de Tocqueville, the article demonstrates some of the potential risks incurred by social scientists drawing on historical thinkers. (...) After exploring the similarities between the Ostroms and Tocqueville, it identifies three key pitfalls of the Ostroms’ ‘Tocquevillian’ rhetoric. These pitfalls result in obscuring meaning and overlooking philosophical insights, both of which detract from the Ostroms’ project. Insights from the field of intellectual history are offered. A final section presents a key example of Vincent Ostrom overlooking Tocqueville's thought where Tocqueville's insights were directly applicable to his work. The article parses political science's relationship with the past and offers a critique that is applicable beyond Tocqueville and the Ostroms. (shrink)

Thomas Hobbes in Leviathan presented a paradigm of the social contract that has proven foundational in Western political thought. A proper understanding of the philosopher’s thought is thus of paramount importance. I argue that today’s case for a religiously tolerant Hobbes has missed an important part of the historical record. I first consider an obscure but important document, the second edition of the Humble Proposals. It demonstrates that leading members of a seventeenth century Christian denomination, the Independents, considered a state-enforced (...) confession of faith. Independents are generally seen as tolerant, and one of the arguments for Hobbesian toleration is that Hobbes endorsed them. But the second edition of the Humble Proposals aligns with the possibility in Hobbes that the civil sovereign will impose part III of Leviathan on the Universities and treat its contents as a legally required confession of faith – one that may be necessary for security, and the avoidance of civil war. Hobbes’s endorsement of Independency alone cannot be used to argue that his work leads to religious toleration. The evidence I present reinforces an earlier assessment and alongside other evidence points to the return of the intolerant Hobbes. (shrink)

Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...) though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time? -/- Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future. -/- ‘It's wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.’ – James Elkins, School of the Art Institute of Chicago ‘In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed "methods" and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.’ – Whitney Davis, University of California at Berkeley. (shrink)