Like it or not, a big picture of the history of science is something which we cannot avoid. Big pictures are, of course, thoroughly out of fashion at the moment; those committed to specialist research find them simplistic and insufficiently complex and nuanced, while postmodernists regard them as simply impossible. But however specialist we may be in our research, however scornful of the immaturity of grand narratives, it is not so easy to escape from dependence – acknowledged or not – (...) on a big picture. When we define our research as part of the history of science, we implicitly invoke a big picture of that history to give identity and meaning to our specialism. When we teach the history of science, even if we do not present a big picture explicitly, our students already have a big picture of that history which they bring to our classes and into which they fit whatever we say, no matter how many complications and refinements and contradictions we put before them – unless we offer them an alternative big picture. (shrink)

This essay offers some preliminary and general considerations of big picture historiography of science, attempting an introductory specification of the topic by means of narratological analysis. It takes no strong, substantive position eitherpro or contrabig pictures themselves, preferring an approach which is more diagnostic and heuristic in nature. After considering what may be meant by a term such as ‘big picture’ and its cognates, it interrogates the kind of desire which could lie behind the wish expressed by the conference title (...) ‘Getting the Big Picture’: namely, that a big picture may be worth getting. It proceeds by way of a limited enquiry into what seems to be felt as a relative absence of big picture works in contemporary historiography, criticizing one very general historicocultural thesis which accounts for such an absence, advancing instead evolving features of the professional history of science community over the last thirty years as reasons for this relative absence. Concludingly, it turns the issues raised thus far on their head, in some measure at least. In trying for a more precise specification of the contemporary historiographical formation, we will discover eventually a situation not so much of relative absence of big pictures, rather one where there exists both frame and title for the picture, together with some distinguished painters' names; but where the canvas is only minimally marked, a partial and shadowy sketch, stylistically disjoined. Although this sounds paradoxical, a concrete paradox is not intended. The existence of frame and title enclosing mainly empty canvas indicates only the limitations of the pictorial metaphor for describing complex and developing sets of historiographical practice. What is instanced concludingly is less a theoretical paradox than an intelligible sequence and form of development which issues in a potential problem of practice. (shrink)