In this essay an attempt is made to transcend the divide between realists and anti-realists in the philosophy of history by proposing an alternative account of understanding the past, one based on the nature of testimonies, specifically theirscopeanddepth. This is done through a critical engagement with the works of prominent realist and anti-realist philosophers of history ; other philosophers working on relevant topics such as epistemology, and historians who have written on historical method. The alternative account thus developed is then (...) tested by applying it to the case of theHistorikerstreit, the bitterly waged historian's struggle concerning the history and legacy of Nazism. On the surface it appears to affirm the anti-realist position that posits historical narratives as being inherently normative/aesthetic given the inadequacies of the ‘thick’ realist position, but upon closer scrutiny it demonstrates the merit of my alternative, testimony-based ‘thin’ realist account. (shrink)

The article examines the scholarly travels of Enno Littmann in Syria and Ethiopia as providing an alternative model for understanding ‘the archive’ as a theoretical topos in connection with the production of historical knowledge in the 19th century. The argument seeks to dismantle the nexus between classification and modern European statehood – here discussed with the help of Derrida’s Mal d’archive – that has come to dominate debates on the epistemological place of the archive. Instead, the article seeks to sketch (...) an understanding of practical work on plural, collected and textual records of the past in terms of epistemic situations displaying a high degree of spontaneity, thus ‘wildness’. For this purpose, reading procedures, archival material and normative orders purportedly regulating archival work are scrutinized in turn for signs of wildness. (shrink)

The article examines the scholarly travels of Enno Littmann (1875–1958) in Syria and Ethiopia as providing an alternative model for understanding ‘the archive’ as a theoretical topos in connection with the production of historical knowledge in the 19th century. The argument seeks to dismantle the nexus between classification and modern European statehood – here discussed with the help of Derrida’s Mal d’archive – that has come to dominate debates on the epistemological place of the archive. Instead, the article seeks to (...) sketch an understanding of practical work on plural, collected and textual records of the past in terms of epistemic situations displaying a high degree of spontaneity, thus ‘wildness’. For this purpose, reading procedures, archival material and normative orders purportedly regulating archival work are scrutinized in turn for signs of wildness. (shrink)

In this paper, I take up Herman Paul’s suggestion to analyze the process of writing history in terms of virtues. In contrast to Paul, however, I argue that the concept of virtue used here should not be based on virtue epistemology, but rather on virtue ethics. The reason is that virtue epistemology is discriminative towards non-coginitive virtues and incompatible with the Ankersmitian/Whitean view of historiography as a multivocal path from historical reality to historical representation. Virtue ethics on the other hand, (...) more specifically those forms of virtue ethics which emphasize the uncodifiability thesis, is very capable of providing such an account. In order to make this somewhat more concrete, I distinguish four important traits of virtue ethics, and I try to make clear how these can be interpreted with respect to the writing of history. (shrink)

This article investigates the emergence of the archive as the primary venue for the production of historical knowledge in the 19thcentury. The turn to archival research, the article argues, may be considered as a response to the discussions about the problems of testimony that dominated 18th- and early 19th-century German writings on the methodology and epistemology of historical research. These discussions, especially regarding the epistemic virtues of witnesses, also helped create the particular culture of knowledge-making within German historical scholarship that (...) enabled the archival turn. The article illustrates these developments through the examples of Johann Peter von Ludewig, who was one of the most prominent historians of the early German Enlightenment, and Leopold von Ranke, who is normally considered the founder of the modern historical discipline and the most important advocate of the 19th-century archival turn. (shrink)

Efforts to include women in the canon have long been beset by reactionary gatekeeping, typified by the charge “That's not philosophy.” That charge doesn't apply to early and mid‐analytic female philosophers—Welby, Ladd‐Franklin, Bryant, Jones, de Laguna, Stebbing, Ambrose, MacDonald—with job titles like lecturer in logic and professor of philosophy and publications in Mind, the Journal of Philosophy, and Proceedings of the Aristotelian Society. It's hopeless to dismiss their work as “not philosophy.” But comparable reactionary gatekeeping affects them, this paper argues, (...) typified by the labels “bad philosophy” and “derivative philosophy.” Virtue and vice epistemology help explain why these women have been neglected and why their own approaches are epistemically virtuous. Their contemporaries and historians are deficient in scholarly virtues in labelling these women's work “bad” or derived from male mentors with no or specious justification. Their disparaged qualities—intellectual humility, modesty, critical self‐reflection, disclosing biases—are often epistemic virtues. (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)

The Einstein-Rupp experiments have been unduly neglected in the history of quantum mechanics. While this is to be explained by the fact that Emil Rupp was later exposed as a fraud and had fabricated the results, it is not justified, due to the importance attached to the experiments at the time. This paper discusses Rupp's fraud, the relation between Albert Einstein and Rupp, and the Einstein-Rupp experiments, and argues that these experiments were an influence on Niels Bohr's development of complementarity (...) and Werner Heisenberg's formulation of the uncertainty relations. (shrink)

This paper is about the history of the European scholarly life as scripted reality. To this end, it explores a variety of patterns of discourse and genres of text concerning the nature and purpose of biography, personhood, and subjectivity in the world of scholarly learning, and more precisely, Oriental studies, in the closing decades of the 19th century. The paper draws on materials pertaining to the lives of Ignaz Goldziher, Theodor Nöldeke, and Enno Littmann. The argument aims to show that (...) the scholarly persona at the time was varied and disunified; that some of the variations of scholarly personae were built on notions, and experiences, of transcending cultural boundaries; and that the very condition of disunity, or dispersion, provided a specific mode of expressing the ineffability of subjectivity in this province of scholarship. In particular, the paper offers an account of the scholarly persona as a carrier of virtue and authority; of the scholarly persona as distinct from, and a spectator of, the great historical persona; and of the scholarly persona as marked by a plotline of cultural transgression and return into the co-operative of science. It concludes with a discussion of poetry as a means of seeking to express the scholarly subject. (shrink)