The aim of this article is to explore the ways in which the engagement with Greek tragedy may contribute fruitfully to the unfolding of empathy in medical students and practitioners. To reappraise the general view that classical texts are remote from modern experience because of the long distance between the era they represent and today, I propose an approach to Greek tragedy viewed through the lens of historical empathy, and of the association between past situations and similar contemporary experiences, in (...) particular. After a brief examination of the concept of empathy, its links with literary reading, and the discussion of these interrelations within the training of narrative medicine, and narrative ethics in particular, the focus turns to selected parts of Sophocles’ Philoctetes, such as the disease scene—an ancient example of pathography. Here Neoptolemus’ empathy for Philoctetes’ situation and its consequences are explored with specific interest in the modern readers’ affective response in connection with their own experiences in medical practice. Neoptolemus’ ethical conflict, which is resolved by his decision to care for Philoctetes, and the problematic nature of this attitude are both indicative of the aim of Greek tragedy to problematize universal issues and thus to point towards the instability of human life and the fluidity of human nature. Realizing through historical empathy the precariousness of human existence may lead to a better understanding and hence better care for others and open new perspectives in the development of empathy within the context of contemporary medical education and practice. (shrink)

This essay reconstructs the intellectual development of the philosopher of history Louis O. Mink Jr, in order to illuminate the philosophical background to in American historical epistemology. From around 1970, Mink was a prominent and influential defender of the view that historical narratives were imaginative constructions rather than representations of past actuality. This has since been understood as a characteristically postmodern view. Mink's wider sensibility, however, is better described as modernist than postmodernist. The crucial context for his philosophy was a (...) hostility to going back to his graduate years at Yale, and his epistemological views were of a piece with a defence of historical understanding as both distinctive and valuable. In both respects Mink was influenced by the philosophy of R. G. Collingwood, while he was himself an important influence on Hayden White. Mink's case therefore helps bridge the gap between interwar and later twentieth-century versions of Anglophone historical contructivism, while drawing attention to some cultural contexts in which the development of both modernist and postmodernist views of historiography must be understood. (shrink)

This article considers historical facts and investigates the particular relationship between a factual and a valuative dimension within them. The operation is an autopsy of a particular historical fact, which works as an example. On this basis, the article will elucidate the similarities and the differences between historical facts and natural facts, with an emphasis on the observation that the former are more subject to the influence of interpretation than the latter. This feature of historical facts explains why social and (...) political struggles for recognition arise with respect to historical events. (shrink)

Résumé Une fois posé l’arrière-plan des transformations de la discipline historique pendant les années 1970 et 1980, cet article restitue l’itinéraire intellectuel de Jean-Claude Perrot depuis ses travaux d’histoire économique et sociale sur la formation de la ville de Caen au XVIIIe siècle jusqu’à ses études et propositions pour l’histoire intellectuelle. Il met en évidence le lien généalogique entre ces deux moments, l’affinité des procédés d’analyse qu’ils ont comportés et la rencontre de ces tentatives menées en France avec des renouvellements (...) analogues intervenus au même moment en Allemagne. (shrink)

Accounts of the evolutionary past have as much in common with works of narrative history as they do with works of science. Awareness of the narrative character of evolutionary writing leads to the discovery of a host of fascinating and hitherto unrecognized problems in the representation of evolutionary history, problems associated with the writing of narrative. These problems include selective attention, narrative perspective, foregrounding and backgrounding, differential resolution, and the establishment of a canon of important events. The narrative aspects of (...) evolutionary writing, however, which promote linearity and cohesiveness in conventional stories, conflict with the underlying chronicle of evolution, which is not linear, but branched, and which does not cohere, but diverges. The impulse to narrate is so great, however, and is so strongly reinforced by traditional schemes of taxonomic attention, that natural historians have more often abandoned the diverging tree than they have abandoned the narrative mode of representation. If we are to understand the true nature of the evolutionary past then we must adopt “tree thinking”, and develop new and creative ways, both narrative and non-narrative, of telling the history of life. (shrink)

The historical imagination, as Hayden White has reminded us, is not singular;\nit is manifest in many forms (White, 1973). Not surprisingly, this diversity\nis reflected within the pages of History of the Human Sciences and in the four papers that follow. Indeed, from its inception, the journal has sought to\npromote a variety of styles of writing, representing the many voices that have\nan interest in the human sciences and their history.\nIn the opening article, Roger Smith suggests that a distinctive feature of the\nhistorical (...) imagination is the priority given to an engagement with primary\nsources. The historical imagination, on the other hand, is to be seen in its\nmany forms as the practical realization of that engagement through the constitution\nof the historical ‘record’ as a record and the activity of explaining to\noneself and others how it has come about. For Smith, an important value of\nprimary sources is their representation of ‘otherness’, providing ‘the possibility\nof an engagement with what is foreign to, outside, what we for most\npurposes take to be our selves and our world’. And the historical imagination,\nlike imagination in general, centrally involves a preoccupation with context\nand the provision of a vantage point that is different from the one that is originally\ngiven. Smith ends his paper with some remarks about the connections\nbetween imagination and narrative.\nIn the following article, Graham Richards focuses his reflections early in\nthe 20th century, in the period between the two world wars. Through a discussion\nof some of his recent work on the popularization of Psychoanalysis\nduring those two decades, he introduces an interesting counterfactual question:\n‘How then did it feel to be living without Freud and encountering\npsychoanalytic ideas and language for the first time?’2 Richards goes on to\noutline a number of imperatives (transcendental, presentist, narrative) that he\nsees as part of the historical imagination. In considering the implications of\nhis remarks, Richards – like Smith – highlights the importance of a sound\n‘evidential’ base in the stimulation of the historical imagination and he raises\nan important issue concerning the historian’s sense of time – ‘our feel for how\nthings unfold in real time in real biographies and collective experience’. (shrink)

ABSTRACT Between the publication of Montaigne's Essais and Hobbes's Leviathan rhetors became increasingly anxious about arguing in utramque partem. Paradiastolic discourse, fundamental to Montaigne's early essays, is anxiously though expertly deployed in Leviathan. Paradiastole fuses the ability to see and speak about an issue from antithetical perspectives with the ambivalence such power arouses in. Beyond their skepticism, Montaigne and Hobbes share a concern for how phenomena can be interpreted and represented through language. Despite Hobbes's desire for a method that would (...) ensure constant and determinate linguistic acts that would render rhetoric supererogatory, Leviathan demonstrates his unremarkable affinities with mainline Renaissance humanists alongside his uneasy affinities with the Sophists. Both the humanist and the Sophist used the trope to probe and to persuade, though both were anxious about the reversibility of such rhetorical redescriptions. Paradiastolic discourses, we argue, integrate the cognitive procedures of philosophy with the judicative procedures of rhetoric. The trope operates through exploiting the reciprocity between similar qualities, as exemplified by the influential paradiastolic pairing of ferox and fortis. (shrink)

Through a reading of the Syrian Marxist Yasin al-Hafiz’s (1930–1978) autobiographical preface, the essay investigates the changing coordinates of political critique in the Arab world in the aftermath of the defeat of 1967. The autobiography, as the essay argues, draws the contours of the figure of an ‘internal exile’, an exile from history into time, which characterizes the experience of a generation of disillusioned radicals. After presenting the interplay of history and time in al-Hafiz’s text, the essay reflects on the (...) historiographical sensibility needed for a revisiting of this past, a revisiting called for by the present disillusionment from the Arab revolutions. A tragic posture provides a different take on this past, the essay concludes, one that requires coming to terms with the notion of inheritance. (shrink)

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More specifically, (...) I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

ABSTRACT Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More (...) specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

From 1827 to 1831 the German historian Leopold von Ranke travelled through Germany, Austria, and Italy, hunting for documents and archives. During this journey Ranke developed a new model for historical research that transformed the archive into the most important site for the production of historical knowledge. Within the archive, Ranke claimed, the trained historian could forget his personal predispositions and political loyalties, and write objective history. This essay critically examines Ranke's model for historical research through a study of the (...) obstacles, frustrations, and joys that he encountered on his journey. It shows how Ranke's archival experiences inspired him to re-evaluate his own identity as a historian and as a human being, and investigates some of the affiliations between his model for historical research and the political realities of Prince Metternich's European order. Finally, the essay compares Ranke's historical discipline to other nineteenth-century disciplines, such as anthropology and archaeology. (shrink)

Dying is easy; comedy is hard. Comedy is sovereign. I begin with an excerpt from Bertolt Brecht’s Fugitive Conversations. Ziffel, a physicist, is chatting with the worker Kalle: For humor, I always think of the philosopher Hegel.... He had the makings of one of the greatest humorists among the philosophers.... I read his book The Great Logic once, when I had rheumatism and couldn’t move. It’s one of the greatest humorous works of world literature. It treats of the way of (...) life of concepts, those slippery, unstable, irresponsible existences; how they abuse one another and fight with knives and then sit down together to supper as though nothing had happened.... They can live... (shrink)

In recent years Duncan Kennedy has turned to the question, what is Contemporary Legal Thought? For the most part, his answers have focused on the modes of legal argument he believes are indigenous to Contemporary Legal Thought in the United States, and possibly, at a transnational or global level as well. In this article, I bracket the question of content and ask instead, if we are interested in exploring the category of a legal ‘contemporary’, how do we do so? What (...) historiographic methods are well-suited to the task of constituting ‘Contemporary Legal Thought’? My focus here is entirely on legal structuralism, the historical method I associate with Kennedy’s work beginning in the 1970s. By the mid-1980s, legal structuralism was under assault and quickly fading from the repertoire of available styles of doing history on the left. By the turn of the century, legal structuralism appeared to have vanished. I think that this was regrettable and unnecessary, and in this article I argue for a return to structuralist historiography. I do not pretend, however, that this return entails a second coming of the totalizing, originary center. Rather, I encourage thinking about legal structuralism in the way that I understand Roland Barthes, Hayden White, and to a large extent Duncan Kennedy himself to have thought about it: as a style. And as a style, legal structuralism is worth reawakening, a style back in style once more. (shrink)

In recent years Duncan Kennedy has turned to the question, what is Contemporary Legal Thought? For the most part, his answers have focused on the modes of legal argument he believes are indigenous to Contemporary Legal Thought in the United States, and possibly, at a transnational or global level as well. In this article, I bracket the question of content and ask instead, if we are interested in exploring the category of a legal ‘contemporary’, how do we do so? What (...) historiographic methods are well-suited to the task of constituting ‘Contemporary Legal Thought’? My focus here is entirely on legal structuralism, the historical method I associate with Kennedy’s work beginning in the 1970s. By the mid-1980s, legal structuralism was under assault and quickly fading from the repertoire of available styles of doing history on the left. By the turn of the century, legal structuralism appeared to have vanished. I think that this was regrettable and unnecessary, and in this article I argue for a return to structuralist historiography. I do not pretend, however, that this return entails a second coming of the totalizing, originary center. Rather, I encourage thinking about legal structuralism in the way that I understand Roland Barthes, Hayden White, and to a large extent Duncan Kennedy himself to have thought about it: as a style. And as a style, legal structuralism is worth reawakening, a style back in style once more. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

Plato’s theory of virtue in the Laws could be striking for someone who is more familiar with Aristotle’s ethics for conceptual complementarity between the two positions (contrary emotions, the ordering element of reason, virtue as a mean which lies between two forms of vice, typically linked to excessive actions, etc.). Plato’s theory, however, still differs from that of Aristotle in two crutial points. First, the source of emotional dynamism is, according to Plato, supraindividual as far as the psyche is a (...) cosmological principle. Only if it comes to be formed and ordered, it separates from the universal cosmic context and make up the emotional nature of an individual soul. But the soul is not, and this is the second point of difference, ordered by some external element (training or education, organized by a rational agent). Plato counts on a pre-arranged order of emotions at a particular ontological topos of the individual soul into which reason eventually descends. Emotions, on their part, seem to include a nexus between formable and forming that is chronologically and methodocally prior to that between the biological substratum and its rational organization, as assumed by Aristotle. (shrink)

The thesis adapts Bourdieu’s theory of hexis as a method for approaching the Baillie (Hegel/Baillie, 1910/1931) and Pinkard (Hegel/Pinkard, 2008) translations of Hegel’s Die Phänomenologie des Geistes (Hegel, 1807/1970) as embodiments of a translatorial practice informed by social and philosophical contextual factors. The theoretical concept of a translatorial hexis is analogous to Bourdieu’s habitus but differs in that the translatorial hexis embodies a specifically dominant, honour-seeking stance of the translator with regard to the micro-dynamics of the surrounding sub-fields; the translatorial (...) hexis is also embodied primarily in the detail of the text and in the peritexts to the translations. Chapters 3 and 4, which focus on the Baillie and Pinkard translations, are each divided into three sections: an analysis of the historical background to the translation in terms of interrelated Bourdieusian fields defined by rival positions vying for academic reputation; an analysis of lexical patterning identified in TT corpora with reference to the translations of two ‘dialectically ambiguous’ terms Geist [mind/spirit] and aufheben [cancel/preserve/sublate]; an analysis of peritexts to the two translations. Starting with a discussion of Hegel’s ‘dialectical ambiguity’ in chapter 1 and an elaboration of the Bourdieusian theoretical framework in chapter 2, the thesis attempts to explain the lexical findings with reference to the concept of translatorial hexis in a manner which takes philosophical and sociological factors into consideration as determinants of the translators’ strategies. The analysis focuses on the positioning of Sir James Black Baillie with regard to Absolutist and Personalist versions of British Idealism and Terry Pinkard with regard to the non-metaphysical readings of Hegel and the development of communitarian ideologies.The publication of new translations of Hegel’s works and new critical works on German Idealism suggest that a Hegel revival is in full progress. Given the centrality of translation to this phenomenon, it is appropriate that translation studies should contribute to the discussion, especially to demonstrate the value of a self-reflexive, multi-disciplinary approach which brings linguistic analysis and sociological contextualisation to bear on some of the philosophical issues at stake. (shrink)

The historical sensibility of Western modernity is best captured by the phrase “acting upon a story that we can believe.” Whereas the most famous stories of historians facilitated nation-building processes, philosophers of history told the largest possible story to act upon: history itself. When the rise of an overwhelming postwar skepticism about the modern idea of history discredited the entire enterprise, the historical sensibility of “acting upon a story that we can believe” fell apart to its constituents: action, story form, (...) and belief in a feasible future outcome. Its constituent parts are nevertheless still hold, either separately or in paired arrangements. First, believable stories are still told, but without an equally believable future outcome to facilitate. Second, in the shape of what I call the prospect of unprecedented change, there still is a feasible vision of a future (in prospects of technology and the Anthropocene), but it defies story form. And third, it is even possible to upon that feasible future, but such action aims at avoiding worst case scenarios instead of facilitating best outcomes. These are, I believe, features of an emerging postwar historical sensibility that the theory and philosophy of history is yet to understand. (shrink)