From Round to Square (and back)

For The Emperor's Teacher, scroll down (↓) to "Topics." It's the management book that will rock the world (and break the vase, as you will see). Click or paste the following link for a recent profile of the project: http://magazine.beloit.edu/?story_id=240813&issue_id=240610

A new post appears every day at 12:05* (CDT). There's more, though. Take a look at the right-hand side of the page for over four years of material (2,000 posts and growing) from Seinfeld and country music to every single day of the Chinese lunar calendar...translated. Look here ↓ and explore a little. It will take you all the way down the page...from round to square (and back again).
*Occasionally I will leave a long post up for thirty-six hours, and post a shorter entry at noon the next day.
Showing posts with label Collingwood/R.G.. Show all posts
Showing posts with label Collingwood/R.G.. Show all posts

Friday, August 12, 2011

Middles (8)—Historical Re-enactment

[a] Historical Santa Anna-ctment  RF
No, I do not plan to write about families who dress up together and go to Civil War re-enactments on summer weekends. I am not even thinking (much) about that peculiar kind of high school history teacher who loves to dress up like the historical figures she (or he) will be discussing in class on any particular day. These are all clearly people who love the study of history, and I wish to share their joy in the much more stilted and theoretical way that we celebrate (sort of) on Round and Square.

[b] "Play"  RF
O.k., you will probably have guessed by now that I am not a big fan of historical re-enactments (and the pictures end here). I am not saying I am against such re-enactments; I just have other analytical fish to broil, and it is historical texts that get me all worked up.

I want to talk about re-enactment, to be sure, but it is the essay of a certain philosopher of history that has my attention. It is one of the most famous—and seminal—middles ever published in a history book, and everyone who has ever thought about the nature of the past (or of dressing up like Napoleon) should be familiar with it. If you are not, your education in history (and historiography) is incomplete. It's that simple. You need to know this.

Now, don't think that by telling you that this stuff is absolutely central (hence its inclusion in today's "Middles" entry) means that you need to agree with it. Far from it. R.G. Collingwood took plenty of heat for his assertion that history is the re-enactment of past experience. Like all powerful philosophical ideas, it is worth pondering deeply...and criticizing relentlessly. There is probably not a more famous and persistent idea in the philosophy of history, and you may realize where I am going with this. You see, you can't really think about anything that has already happened (from the Bay of Pigs to the debt-ceiling debate) without considering this little idea of re-enactment.

If you are an anthropologist, take note—the discipline has ignored these matters long enough. There is nothing defensible about avoiding a rigorous engagement with the pastness of all culture. Dive in. If you are a student of history, you absolutely must acquaint yourself with Collingwood's argument. Eventually, you must read all of The Idea of History, from which this segment is taken, and ponder the many debates on this topic in volumes such as History and Theory. Even if you are not, say, a history major, this stuff matters more than you may ever have realized. Take a look at two pages from R.G. Collingwood's text, and commit to reading more...soon. It is a middle that you can't afford to ignore (even sixty-five years after its publication).

R.G. Collingwood
History as Re-enactment of Past Experience (1946)
How, or on what conditions, can the historian know the past? In considering this question, the first point to notice is that the past is never a given fact which he can apprehend empirically by perception. Ex hypothesi, the historian is not an eyewitness of the facts he desires to know. Nor does the historian fancy that he is; he knows quite well that his only possible knowledge of the past is mediate or inferential or indirect, never empirical. The second point is that this mediation cannot be effected by testimony. The historian does not know the past by simply believing a witness who saw the events in question and has left his evidence on record. That kind of mediation would give at most not knowledge but belief, and very ill-founded and improbable belief. And the historian, once more, knows very well that this is not the way in which he proceeds; he is aware that what he does to his so-called authorities is not to believe them but to criticize them. If then the historian has no direct or empirical knowledge of his facts, and no transmitted or testimoniary knowledge of them, what kind of knowledge has he: in other words, what must the historian do in order that he may know them?

My historical review of the idea of history has resulted in the emergence of an answer to this question: namely, that the historian must re-enact the past in his own mind. What we must now do is to look more closely at this idea, and see what it means in itself and what further consequences it implies.

In a general way, the meaning of the conception is easily understood. When a man thinks historically, he has before him certain documents or relics of the past. His business is to discover what the past was which has left these relics behind it. For example, the relics are certain written words; and in that case he has to discover what the person who wrote those words meant by them. This means discovering the thought (in the widest sense of that word: we shall look into its preciser meaning in § 5) which he expressed by them. To discover what this thought was, the historian must think it again for himself.

Suppose, for example, he is reading the Theodosian Code, and has before him a certain edict of an emperor. Merely reading the words and being able to translate them does not amount to knowing their historical significance. In order to do that he must envisage the situation with which the emperor was trying to deal, and he must envisage it as that emperor envisaged it. Then he must see for himself, just as if the emperor's situation were his own, how such a situation must be dealt with; he must see the possible alternatives, and the reasons for choosing one rather than another; and thus he must go through the process which the emperor went through in deciding on this particular course. Thus he is re-enacting in his own mind the experience of the emperor; and only in so far as he does this has he any historical knowledge, as distinct from a merely philological knowledge, of the meaning of the edict.

Or again, suppose he is reading a passage of an ancient philosopher. Once more, he must know the language in a philological sense and be able to construe; but by doing that he has not yet understood the passage as an historian of philosophy must understand it. In order to do that, he must see what the philosophical problem was, of which his author is here stating his solution. He must think that problem out for himself, see what possible solutions of it might be offered, and see why this particular philosopher chose that solution instead of another. This means re-thinking for himself the thought of his author, and nothing short of that will make him the historian of that author's philosophy.

It cannot, I think, be denied by anybody that these descriptions, whatever their ambiguities and shortcomings, do actually call attention to the central feature of all historical thinking. As descriptions of that experience, their general accuracy is beyond question. But they still require a great deal of amplification and explanation; and perhaps the best way of beginning this is to expose them to the criticism of an imaginary objector...

Note
From this point on, Collingwood engages the imaginary objector, and I strongly encourage you to pick up the book (it is widely available). While it is true that objections abound, even to the complete argument, the very nature of Collingwood's point makes it relevant for any thinker (and that is what we all are, after all) at any time. It would be a great mistake to do what, for example, several anthropologists have done, and dismiss the entire concept because of its very real flaw of not engaging cultural difference. While that is a very valid criticism, I suspect that Collingwood might say that the critic has a good deal of the argument left to internalize. Criticize away, though. Six decades of readers have done so, and Collingwood...would likely have been pleased. The only thing that is indefensible (now that you have been introduced to it) is not considering the argument from this day forward.  RL for RSQ.

[1] R.G. Collingwood, The Idea of History (New York: Oxford University Press, 1994), 282-283. All italics mine.


Bibliography
Collingwood, R.G. The Idea of History. New York: Oxford University Press, 1994.

Wednesday, July 27, 2011

Seinfeld Ethnography (18)—Downtown

Click here for an introduction to the Round and Square series Argonauts of the Seinfeldian Specific.
Click below for all "Seinfeld Ethnography" posts: 
Marine Biologist         The Doorman          Opposite George   Newman's Mail   The Bootleg         Marriage
Just Dessert               Sleep Desk             Late Coffee            High Stakes        Motor Oil              Downtown 
Code Cracking           Nonfat Yogurt          Bad Boy                 It's Not You         I Can't Be...          Exploding Wallet
Elaine Flies Coach    The Close Talker     The Alliance           Broccoli               Coated Culture    Dinner Party

 Click here for the reference to the "Argonauts" title, below.
[a] Downtown?  RF
 Argonauts of the Seinfeldian Specific 
Where's "downtown?" What does the word even mean? Most of us have not stopped to consider such matters, but our ethnographer friends on Seinfeld always do, as they sit around that great campfire called "Restaurant" and tell the tales of the days just passed in work and worry. This week, George and Jerry ponder a little conundrum called "downtown." This is many times more difficult in New York City than it is in, say, Grinnell, Iowa, which has fewer possibilities for confusion with Midtown, Uptown, and other geographical, cultural, and economic markers.

Through the whole clip, which you will see below, runs a 1965 hit that the Seinfeld gang revives three decades later. Petula Clark's song is worth a listen (and look—this is a video you have to see, if only for its historical contrast) before we consider Jerry and George tracking the elusive prey they call downtown.


[b] History  RF
I have a particular fondness for the song, because my dad would always play Petula Clark (as well as Ian and Sylvia Tyson, Joan Baez, and Carly Simon) on the trendy reel-to-reel operation that kept him company while reading for his anthropology exams in graduate school. I would wake up briefly in what I considered the middle of the night back then, and hear Petula's music winding its way up the staircase.


Dad and I weren't the only ones listening, either. The song has become a minor chord in American (and Commonwealth) cultural life, and it forms the heart of a riddle that George Costanza just cannot crack.

So, you see, we are confronted here with problems of definition (what, or where, is "downtown," and how is it to be differentiated from other "towns," be they "Up..." or "Mid..."?), of interpretation (what does it mean?), and—by extension—the manner in which definitions have changed over the past thirty years. Just contrast Petula Clark in 1965 with George and Jerry's already dated discussion, and you will see that historical understanding is a little more complicated than just knowing "what happened."

Those are the "theoretical" issues we will examine today. Umberto Eco will guide us through a reflection on definitions. Next, R.G. Collingwood will discuss "historical imagination" in a snippet from one of the most creative works on historiography ever written. Finally, Claude Lévi-Strauss will describe historical and cultural contrasts in urban landscapes. As always, I will remind you that the "theoretical" readings are meant to touch upon the Seinfeld scene ever so gently—to juxtapose intellectual issues that can be seen in a new light when contrasted with the Seinfeld episode. I have begun adding original publication dates for writers whose work has been reprinted or translated (and for which the dates in the bibliography might be confusing).


Umberto Eco
Kant, Peirce, and the Platypus
[c] Eco
But at this point Kant still has not said how he can bind the variables: why do I perceive A as sun and B as stone? How do the concepts of pure intellect intervene to make me understand a stone as such, distinct from all the other stones in the heap, from the sunlight that heats it, and from the rest of the universe? Those concepts of pure intellect that are the categories are too vast and far too general to enable me to recognize the stone, the sun, and the heat. It is true that Kant assures us (CPR/B: 94) that once a list of primitive pure concepts has been drawn up, it is "easy" to add the derived and subaltern ones, but, since his task was to deal with the principles of the system rather than with the completeness of the system, he saved this integration for another work. In any case all we need do is consult the manuals of ontology and thereby nimbly subordinate the predictables of force, action, and passion to the category of modality. But even then we should still be on such a high level of abstraction that we could not say This B is a stone.


Therefore the table of categories does not allow us to say how we perceive a stone as such. Concepts of the pure intellect are only logical functions, not concepts of objects. But, if I am unable to say not only that this A is the sun and this B is a stone but also that this B is at least a body, all the universal and necessary laws that the concepts of the pure intellect guarantee me are worth nothing, because they could refer to any datum of experience. Perhaps I could say that there is an A that heats everything, whatever empirical concept I may assign to B, but I wouldn't know what this heating entity is, because I would not have assigned any empirical concept to A. Concepts of the pure intellect have need not only of sensible intuition but also of objects to which they may be applied.[1]

R.G. Collingwood
The Historical Imagination (1946)
[d] Collingwood
Secondly, what is in this way inferred is essentially something imagined. If we look out over the sea and perceive a ship, and five minutes later look again and perceive it in a different place, we find ourselves obliged to imagine it as having occupied intermediate positions when we were not looking. That is already an example of historical thinking; and it is not otherwise that we find ourselves obliged to imagine Caesar as having traveled from Rome to Gaul when we are told that he was in these different places at these successive times.

This activity, with this double character, I shall call a priori imagination; and, though I shall have more to say of it hereafter, for the present I shall be content to remark that, however unconscious we may be of its operation, it is this activity which, bridging the gaps between what our authorities tell us, gives the historical narrative or description its continuity. That the historian must use his imagination is a commonplace...but this is to underestimate the part played by the historical imagination, which is properly not ornamental but structural. Without it the historian would have no narrative to adorn. The imagination, that 'blind but indispensable faculty' without which, as Kant as shown, we could never perceive the world around us, is indispensable in the same way to history: it is this which, operating not capriciously as fancy but in its a priori form, does the entire work of historical construction.[2]


Claude Lévi-Strauss
Tristes Tropiques (1955)
[e] Lévi-Strauss
Some mischievous spirit has defined America as a country which has moved from barbarism to decadence without enjoying any intermediary phase of of civilization. The formula could be more correctly applied to the towns of the New World, which pass from freshness to decay without ever being simply old...In the cities of the New World, whether it be New York, Chicago or São Paulo (and the last two have often been compared), it is not the absence of traces of the past which strikes me; this lack is an essential part of their significance...In the case of European towns, the passing of centuries provides an enhancement; in the case of American towns, the passing of years brings degeneration. It is not simply that they have been newly built; they were built so as to be renewable as quickly as they were put up, that is, badly. 


When new districts are being created, they are hardly integral elements of the urban scene; they are too gaudy, too new, too gay for that. They are more like stands in a fairground or the pavilions of some international exhibition, built to last only a few months. After that lapse of time, the fair closes and the huge gewgaws lapse into decay; the façades begin to peel, rain and soot leave their grimy trails, the style goes out of fashion, and the original layout disappears through the demolitions caused by some new building fever. The contrast is not between new towns and old towns, but between towns with a very short evolutionary cycle and towns with a slow evolutionary cycle. Certain European cities sink gently into a moribund torpor; those of the New World live feverishly in the grip of a chronic disease; they are perpetually young, yet never healthy.[3]

[1] Umberto Eco, Kant and the Platypus: Essays on Language and Cognition (New York: Vintage, 2000), 73-74.
[2] R.G. Collingwood, The Idea of History [Revised Edition] (Oxford: Oxford University Press, 1993), 241.
[3] Claude Lévi-Strauss, Tristes Tropiques (New York: Penguin Books, 1973), 95-96.


Bibliography
Collingwood, R.G. The Idea of History (Revised Edition). Oxford: Oxford University Press, 1993.

Eco, Umberto. Kant and the Platypus: Essays on Language and Cognition [Translated by Alastair McEwen]. New York: Vintage, 2000.
 
Lévi-Strauss, Claude. Tristes Tropiques [Translated by John and Doreen Weightman]. New York: Penguin Books, 1973].

NEXT
Wednesday, August 3rd
Code Cracking
Kramer wedges his interpretive crowbar between George's tight-lipped secret code.