An Anti-Anti-Lachrymose Approach to Jewish History?

by contributing editor Yitzchak Schwartz

In his seminal 1928 essay, “Ghetto and Emancipation: Shall We Revise the Traditional View?,” historian Salo Wittmayer Baron argues against what he refers to in his later work as the “lachrymose conception of Jewish history.” In the essay, Baron, at the time a young historian (albeit one with three doctorates), argues that his forbears in the Jewish academy, men such as Heinrich Graetz and Leopold Zunz, had overstated the extent of Jewish suffering in the premodern world. Although the Jews had faced certain disadvantages during the medieval and early modern periods, Baron argues, their status reflected that of a corporate community in a society of corporate communities, each with its own disadvantages and privileges. Baron would go on to become the most influential Jewish historian of the twentieth century, and perhaps even in the entire history of the field. His anti-lachrymose approach, codified in his own 18-volume “Social and Religious History of the Jews,” has framed the subsequent near-century of Jewish historical scholarship, leading scholars of Jewish history to focus on coexistence over conflict and on the positive over the negative in the Jewish past and Jewish-dominant-cultural relations.

Historian Salo Baron testifies at Adolph Eichmann's trial in Jerusalem.

Historian Salo Baron testifies at Adolph Eichmann’s trial in Jerusalem.

In the last decade, however, Baron’s model has come into question, as several scholars have argued that Jewish historians have gone too far in trying to paint a non-lachrymose picture of Jewish past. The first scholar I am aware of to explicitly challenge this model is historian David Engel. In his 2010 Historians of the Jews and the Holocaust, Engel tackles the question of why Jewish historians rarely incorporate the Holocaust into their narratives and theories of Jewish history. This remains the case even as it is central to German and European history and has generated the field of Holocaust Studies. Engel traces this puzzling reality to Baron’s anti-lachrymose model, which has resulted in Baron’s intellectual heirs painting the Holocaust as a “black box” in Jewish history, an aberration that they do not allow to color how they see the Jewish past before and after it. Indeed, Engel demonstrates, many Jewish historians are very frank about this and explicitly argue that the Holocaust ought not to color our non-lachrymose view of Jewish history, citing Baron as their inspiration. This is despite the fact that Baron himself urged—as both Engel and Baron’s biographer historian Robert Lieberlis note—that the Holocaust necessitated acknowledgement of the darker sides of the Jewish past.

In a 2012 essay, historian Steven Fine makes a similar argument for a less anti-lachrymose approach to Jewish history, specifically with reference to late antiquity. In the article “The Menorah and the Cross: Historiographical Reflections on a Recent Discovery from Laodicea on the Lycus,” Fine uses a column fragment found among the ruins of this ancient Roman city to question the anti-lachrymosity not just of Jewish history, but of late antique studies as well. The fragment features an etching of the menorah flanked by a palm frond and shofar, a common Jewish visual trope in the Roman Empire. Superimposed over the upper portion of the menorah is a large cross—evidence that at some point, in some reuse of this stone fragment, someone made an effort to Christianize it. Fine argues that this object speaks to a subject carefully avoided by most ancient Jewish and late antique historians, namely the violence that accompanied Christianization during this period. On the Jewish end, Fine traces this approach to Baron’s forceful arguments in his Social and Religious History for the goodwill between Christians and Jews in late antiquity, a perspective Fine sees as reflecting mid-twentieth century efforts to create a place for Jews in the American consensus.

The latest installment in this debate had the unlikely departure point of a recent exhibition at the Metropolitan Museum of Art. The exhibition, Jerusalem: Every People Under Heaven, 1000-1400, on which I worked as an intern in the planning stages, showcases the role of the city in the Jewish, Christian, and Muslim visual arts of this period. Praise for the exhibition has been almost universal. In the weeks since it came down on January 8, a debate about its presentation of Jewish history has been ignited in an article published in the Jewish monthly Mosaic Magazine by Wall Street Journal and former New York Times critic-at-large Edward Rothstein. Rothstein is already well known to students of Jewish art history for his critical essay on Jewish museums’ curatorial approaches, published in Mosaic last year. In his essay on the Jerusalem show, Rothstein argues that its curators go too far in painting a picture of the city as a place of harmonious coexistence of Jewish Christian and Muslim cultures, especially with regard to Jews. Rothstein argues that although the exhibition assembles many artifacts that evoke the importance of Jerusalem in Jewish life, Jews were an extremely persecuted group during this period whose experience, especially in Jerusalem, dramatically undermines the exhibition’s narrative of diversity.

This page from a fourteenth-century illuminated Jewish prayerbook features a frame surrounding the plea from the Yom Kippur liturgy, “He who opens the Gates of Mercy” that evokes the gates of heaven and of the heavenly Jerusalem. Inasmuch as this work of art evokes a flourishing Jewish culture and Jewish longing for Jerusalem, however, it reflects the harsh realities of Jewish exile from the holy land.

In two responses to the article solicited by Mosaic, Fine and Robert Irwin, Middle East editor of the Times Literary Supplement, echo Rothstein’s assessment of the exhibition’s approach to its Jewish subject matter. Drawing from medieval traveler accounts, Irwin notes the obstacles Jews faced in the holy land during the middle ages and the difficulty many even had accessing Jerusalem. Fine traces the approach to art history evinced by Jerusalem to the work of eminent art historian Kurt Weitzmann, a dissident scholar who left Nazi Germany and settled at Princeton. In Fine’s reading, Weitzman’s 1979 exhibition at the Metropolitan Museum  The Age of Spirituality was one of the first to depict a harmonious coexistence of differing religious communities during the late antique period in galleries showcasing “The Jewish Realm,” “he Christian Realm,” “The Classical Realm” and so forth. To what degree was Weitzmann’s harmonious understanding of late antiquity, then, influenced by his own reality in postwar New York and his longings for Wiemar Berlin, Fine asks? To Fine, both Weizman and Baron’s visions, as well as those of many of their proteges in the curatorial and Jewish-historical professions respectively, have been deeply colored by their desire to create a more tolerant and multicultural society in their own times.

The debate over the role of lachrymosity in Jewish history should hold a lot of interest for Jewish historians. Although its been several years since Fine and Engel’s critiques of the anti-lachrymose approach, I do not know of any scholars that have followed their lead and worked to construct a post-anti-lachrymose narrative. What would such a narrative look like? Thinking of my own area of American Jewish history, such an approach to things might lead us to ask more questions about how anti-Jewishness has impacted American Jews, their senses of community, religious lives, and senses of themselves. This is a kind of question that is rarely asked in the field—indeed, as organizer and writer Yotam Marom points out in a recent article, it is almost a taboo subject in Jewish public discourse in general. The possibilities for a less, if not anti anti-lachrymose, Jewish history are many. As tempting as it is in politically trying times to use the past as a role model, the actual picture is perhaps much more rich and nuanced, even as it perhaps raises some troubling questions and realities.

Croce between Hughes & White

by contributing editor Eric Brandom

The AHA met in Denver this past weekend. What follows is not a conference report, although there was much worthy of that. It is, rather, a response of sorts to two of the events I attended there in the form of a reflection on two classic works of intellectual history—H. Stuart Hughes’s Consciousness and Society and Hayden White’s Metahistory—that were discussed at these events. The very different books both assign great importance to Benedetto Croce, and treat him at some length as part of a much broader argument.

The problem of objectivity in social science occupies the heart of Hughes’s 1958 Consciousness and Society: The Reorientation of European Social Thought, 1890-1930. The book is rich, wide-ranging, and combines durable typologizing with uncommon subtlety. The narrative runs something as follows. In the middle of the 19th century, positivism reigned supreme, and positivists were certain that the social world could be known and perhaps even acted upon just as could the natural world. Such knowledge turned out to be at once elusive and unsatisfying. In the later part of the century, many thinkers in parallel staged a “revolt against positivism.” The positivism they attacked was often a caricature. For Hughes, the most enduring thinkers to emerge from this moment were those that felt deeply within themselves the pathos of the age, the wrenching pain of relativism, but also remained faithful to the core rationalist project of Enlightenment that had issued in the now-bankrupt positivism. Many proved to be all too willing to give up the egalitarian and democratic bent of the Enlightenment mindset when its notion of science proved unequal to social reality. Hughes’s story is partly one of the generation of 1890, but also of the encounter of this generation with the war in 1914, and the shards of what had come before that survived into the 1920s. This generation, Hughes writes,

had passed their youth at the climax of the Enlightenment—and simultaneously had inaugurated its most probing critique…their own psychological security—their confidence in such unstated assumptions as humane behavior and intellectual integrity—had given them the inner strength to inaugurate an unprecedented examination of conscience…The philosophies of urbane doubt—skepticism, pragmatism, pluralism—held no terrors for them (Hughes 426).

Their younger brothers (and here we indeed are speaking entirely about men) did seem to be terrified of these things, and Hughes identifies his period as one of experimentation and permissiveness between two ages of dogmatism.

Hughes identifies three figures as the geniuses of the age: Max Weber, Sigmund Freud, and Benedetto Croce. He explicitly writes about the problems and the figures he does because they have relevance in his own time, because the United States in the 1950s had not lost the orientation in social thought then established. Although Hughes doesn’t put it quite this way, as I read him, he believes that Weber more than anyone else posed rightly the central problems of value and objectivity and so provides a sort of standard—and leads into midcentury American social science; that Freud probed more deeply into the individual human psyche than ever before and is therefore an indispensable methodological tool, for instance for understanding Weber’s personality; and that Croce, who first formulated what Hughes takes to be the social science objections to Marxism, provides essential orientation for the historian in pursuing historical work.

Croce’s career can be schematized in terms of his three best-known slogans or positions: first, that history is to be subsumed under the category of art; second that all history is contemporary history; third that history is the story of liberty. This last is the title given in English translation to his 1938 La storia come pensiero e come azione, in which he defends what he describes as “absolute historicism.” Each of these slogans has a certain initial appeal. Yet Hughes’ description of the experience of reading Croce rings true:

Croce’s prose is limpid; it has the rare charm of sounding like the voice of common sense…With irresistible persuasiveness Croce carries his readers along with him. As we come to the end of a chapter we are both captivated and convinced. But when we subject the same pages to more careful analytical scrutiny, we find ourselves no longer so sure…we are driven to ask ourselves in despair: exactly what has Croce said anyway? (Hughes 223)

Indeed for Hughes the problem with Croce was that perhaps just because he in the end assimilated everything into the category of history, he never successfully came to terms with the non-rational character of value. Thus, “the ultimate irony of Croce’s thinking” is that “what starts as a rationalist theory terminates in a kind of mysticism” (Hughes 227). Hughes indicts Croce finally for a certain detachment, what has often been describes as an Olympian equanimity, “in brief, he lacked a sense of tragedy” (Hughes 229).

Irony and tragedy are key terms in White’s Metahistory, which appeared just 15 years after Hughes’ book. White uses the tools of structuralist literary criticism to examine what he calls the “deep structure” of the 19th century European historical imagination. The introduction establishes a system of interpretive categories: master rhetorical tropes, narrative or emplotment, explanatory or argumentative strategies, and modes of ideological implication. Just as, for Hughes, the truly enduring thinkers are those who struggled mightily with a deep contradiction, so for White those texts that remain alive to us are the result of internal struggle. Together with the centrality of rhetorical categories, White has taken on a theory of literary excellence: the best works struggle to synthesize incompatible modes. We as readers may continue to return to Michelet, but not to Ranke: “we admire the achievement of the latter, but we respond directly and sympathetically to the agon of the former” (White 191). White describes the larger goal of his book as an overcoming, through Irony, of the Ironic mode that is the origin of “the skepticism and pessimism of so much of contemporary historical thinking.” In so doing, “the way will have been partially cleared for the reconstitution of history as a form of intellectual activity which is at once poetic, scientific, and philosophical in its concerns—as it was during history’s golden age in the nineteenth century” (White xii).

The final chapter is on Benedetto Croce, regarded by White as “the most talented historian of all the philosophers of history of the century” (White 378). The first pages of the chapter recapitulate the path so far. After Nietzsche, “it remained only for a philosopher of history to reflect on this severed condition of historical consciousness and to conclude that historical knowledge itself was nothing but the existential projection of the Ironic mode to complete the cycle of possible historical attitudes in the philosophy of history…The problem would then be: how could one live with a history explained and emplotted in the Ironic mode without falling into that condition of despair which Nietzsche had warded off only by a retreat into irrationalism?” (White 378). Thus White must end with Croce because the task he believes Croce to have shouldered was just the one that White sees himself as taking up.

And Croce evidently failed. Looking over the first major phase of Croce’s work, from the 1893 programmatic essay reducing history to a subcategory of art, then the tetralogy of books from 1902-1917 making up his “Philosophy of Spirit,” White notes the central place occupied by history as a category. White goes on to object that “Croce consistently presupposed the absolute adequacy of his own “Philosophy of Spirit” for the spiritual needs of his age,” and that “he looked out at contending systems and back to preceding ones with that same Ironic gaze which the great cynics have shared with the great fanatics.” In short, Croce could not regard himself with ironic detachment (White 379). Despite his claims to have constituted “ethico-political” history, “in aestheticizing history, Croce de-ethicized it” (White 401).

White’s final judgment on Croce is withering. Croce’s liberalism, indeed his whole system of philosophy and history “was a sublimate of his generation’s awareness of the passing of an age, the Age of Europe, of humanism, and of that combination of aristocratic and bourgeois values which gave to the ruling groups of nineteenth-century Europe their distinctive life style” (White 423). History as contemporary history indeed. If White’s approach is narratological, it has frequently been pointed out that his chapters are nonetheless biographical. The chapter on Croce is no exception, indeed in the end the facts of Croce’s biography are adduced as evidence (not, White says, that more is needed) to show in good Marxist fashion that his work derives from his class position. White finds “the social equivalents of Croce’s main abstract philosophical categories: the principle of Life was nothing but a sublimation of aristocratic heroism; that of Death was nothing more than the bourgeois acceptance of practical exigency. The interplay of the two constituted Croce’s conception of culture, and the story of that interplay was his idea of history” (White 425)

The gambit of Metahistory, of course, is also to aestheticize history. White does not want to repeat Croce in emptying it of ethical content, if indeed we agree with him that this is what Croce did, and one can surely argue about his conduct under fascism. Rather, by being yet more self-conscious than Croce, White wants to pull the teeth of Irony itself and with liberatory intent:

Historians and philosophers of history will then be freed to conceptualize history, to perceive its contents, and to construct narrative accounts of its processes in whatever modality of consciousness is most consistent with their own moral and aesthetic aspirations. And historical consciousness will stand open to the re-establishment of its links with the great poetic, scientific, and philosophical concerns which inspired the classic practitioners and theorists of its golden age in the nineteenth century (White 434).

Hughes’s criticisms of Croce may be turned on White’s own attempt to overcome Croce. Like Croce his vision of what the writing of history might be seems impossibly encompassing. Beginning with art, White brackets the objectivity that so concerned Hughes and ends in historiography as freedom. White sets out with a rational formalist (although not a formist) account of historical thought and his book issues if not exactly in mysticism, in a therapeutic for historians.

Foucault from Beyond the Grave

by guest contributor Michael C. Behrent

Few living thinkers have been as prolific as the dead Michel Foucault. In the thirty-two years since his death, he has published thirteen book-length lecture courses, four volumes of interviews and papers (totaling over 3,500 pages), and countless bootlegs. Meanwhile, the fourth volume of his History of Sexuality, completed shortly before his death, sits, inaccessible to all, in an archive in Normandy—a rare text to have found no way around his estate’s prohibition on posthumous publications.

His will notwithstanding, one can only imagine that Foucault himself would have reacted to this state of affairs with a caustic laugh. For as two recently published volumes remind us, Foucault was haunted by the bond between language and death, as well as the notion that writing always, in a sense, comes from “beyond the grave.”

41pbmufcnrlThe two books in question both appear in a series put out by the Éditions de l’École des hautes études en sciences sociales called Audiographie, which publishes texts that were first delivered in a spoken form. La grande étrangère (The Great Foreigner, 2013), consists of a radio program on madness and literature from 1963, two lectures on literature given in Brussels in 1964, and a talk on the Marquis de Sade delivered at SUNY Buffalo in 1970. The other, Le beau danger (The Beautiful Danger, 2011), is the transcript of an extended interview on the theme of writing that Foucault gave to the literary critic and journalist Claude Bonnefoy in 1968, but which has never before appeared in print.

If there is a common theme linking these interventions, it is that of Foucault’s obsession with the connection between writing and death. The texts in these volumes all deal with literature and writing; the problem of death figured prominently in the literary essays that Foucault, in the 1960s, devoted to Bataille, Blanchot, and Roussel. Yet what the Audiographie books make clear is that the problem of literature and death was not, for Foucault, some esoteric side problem. It was integral to the ideas he was developing in his major publications. Thus modern literature exemplifies, Foucault maintains, the fact that the modern mind is steeped in what, in The Order of Things (1966), he dubbed the “analytic of finitude.” One of the many consequences of the growing consciousness of the radically finite character of human existence that follows the death of God is, he argues, the enormous significance that modern society assigns to literature. The value we attribute to literature is inseparable, Foucault suggests, from a cultural horizon shaped by human mortality.

In the 1964 Brussels lectures, Foucault contends that early modern Europe (during what he calls “the classical age”) did not, strictly speaking, have literature—at least in the way we have since come to understand the term—for the simple reason that it interpreted itself culturally as the tributary of the word of God. People in this period, of course, wrote novels. Some even experimented with the kind of knowing self-consciousness about their own literary artifices—referring in writing to the fact that they were writing—that would later become associated with literary modernism (Foucault offers a fascinating analysis, for instance, of Diderot’s Jacques le fataliste). Yet what distinguishes these earlier endeavor from the literature of the modern age is the fact that, during the classical age, “any work of language existed as a function of a certain mute and primitive language, that the work was charged with restoring.” This “language that [came] before languages” was the “word of God, it was the truth, it was the model” (La Grande étrangère, 100). Rhetoric was the means through which human utterances, in all their obtuseness, could acquire something of the limpidity of divine speech. But what we have come to call literature only emerges once God has died—or become dumb, to be precise. Literature is the attempt from within the unremitting chatter of discourse to mark language, to dent it, possibly to re-enchant or overcome it—hence modern literature’s frequently transgressive character. But once it has ceased to represent the word of God, once it has become simple the words filling a page, literature becomes an emblem of human finitude. As such, it cannot be other than “beyond the grave” (104).

Foucault’s claim that, strictly speaking, literature does not exist as an independent realm of discourse until the late eighteenth century parallels the claim he would soon make in The Order of Things that “man” (in the sense of the “human”) did not exist as a specific object of knowledge until the same period. The birth of the human sciences and the genesis of literature are both, Foucault, maintains, consequences of t God’s retreat.

The problem of writing also lies at the heart of Foucault’s 1970 lecture on Sade. His question is simply: why did Sade write? What compelled him to fill volume after volume with his transgressive yet mind-numbingly repetitive fantasies? Foucault’s analysis is characteristically complex, yet his argument harkens back, however indirectly, to the themes of the Brussels lecture. Sade’s libertinism is, needless to say, directed against God. Yet it is not atheistic as such; God is not dismissed as mere illusion. God, Sade believes, exists, but as an abomination, as evidenced by the “meanness” (méchanceté) of the world—and indeed, by the fact that there are libertines. In Sade’s peculiar logic (which Foucault calls “anti-Russellian” [199]), it is because God is abominable that it is necessary that he not exist. This theme illustrates what Foucault sees as the ultimate function of Sade’s writing: the intertwining of discourse, truth, and desire. Sade needs God “insofar as he does not exist, and insofar as he must be destroyed at each instant” (204), as both his writing and his desire depend on him.

41W+Fo8Tv1L.jpgThe reason Sade wrote is thus because in discourse, truth and desire become enmeshed in spirals of reciprocal stimulation and impulsion. Yet his originality, Foucault claims, lies in the way he emancipated desire from truth’s tutelage, pulling it out from under “the great Platonic edifice that ordered desire on truth’s sovereignty” (218). The point is not (as with Freud) that desire has its own truth, which is more or less hypocritically covered up by social norms; it is also, Foucault seems to be saying, that truth is a form of desire. Truth is not the neutral and transparent element through which words can name beings. It is a libidinal force, as seen in Sade’s relentless insistence, despite his novels’ preposterous plots, that he is telling the truth. Foucault’s account of the truth function in Sade recalls the themes of his first Collège de France lectures, on the “will to knowledge” in ancient Greece, which he would deliver the following year: the sophists, who believed that arguments are not proven logically, but won or lost like battles, resemble in many ways Sade’s approach to writing. Language, here, is no longer just a rumbling murmur that literature seeks to transform into a voice. God is dead, and we—or our truth-creating discourse—have killed him.

Yet at least according to Foucault’s position in Le Beau danger, language—or at least writing—has less to do with killing than with—as he put it in Madness and Civilization—the “already thereness of death” (“le déjà là de la mort”; cf. Histoire de la folie à l’âge classique (Paris: Gallimard, 1972 [1961]), 26). Foucault explains: “I would say that writing, for me, is tied to death, perhaps essentially to the death of others, but that does not mean that writing would be like murdering others,” in a way that “would open before me a free and sovereign space.” Writing, rather, means “dealing with others insofar as they are already dead. I speak, in a sense, over the corpses of others. I must confess, I kind of postulate their death” (Le Beau danger, 36-37).

In this sense, the death of God, Foucault suggests, is not only the cultural situation that his thought attempts to assess; it is the condition of possibility of his own work. The idea of writing as a form of resurrection, a way of rendering present the “living word” of “men and—most likely—God” is, he says, “profoundly alien” to him. Writing, for Foucault, is “the drifting that follows death, and not the progression to the source of life.” He muses: “It is perhaps in this sense that my form of language is profoundly anti-Christian”—even more so than themes that he addresses (39).

In these texts, the reader will find few of the concepts for which Foucault is best known. There is no or little mention of archaeology, epistemes, genealogy, or power (discourse is the one exception, though it is discussed in a far less technical manner than in, say, The Archaeology of Knowledge). What they remind us of are the philosophical preoccupations that presided over his early work—and that no doubt continued to shape his later thought, works such as Discipline and Punish and The History of Sexuality, albeit in a more subterranean way. Here, we have a Foucault concerned with finitude, mortality, and the death of God. Perhaps this Foucault is in need of—how else to put it?—resurrection.

Michael C. Behrent teaches modern European history at Appalachian State University. He is currently working on a book exploring the origins of Foucault’s project.

Intellectual History and Global Transformations

By guest contributor Timothy Wright

During the final weekend of this last October, eighteen graduate students from a variety of history and literature departments gathered at UC Berkeley for the “Futures of Intellectual History” graduate conference to workshop dissertation chapters and to think more deeply about the sub-discipline of intellectual history, its future, its methodology, and its relevance in an age of global history. This year’s conference, organized by Gloria Yu (UC Berkeley) and Ari Edmundson (UC Berkeley) continues a format began last year by a trio of graduate students—Alexander Arnold (NYU), Justin Reynolds and Asheesh Siddique (both from Columbia)—allowing history graduate students interested in intellectual history to more self-consciously address the methodological aspects of their projects in a small conference setting. The themes of the panels themselves offered much food for thought as topics ranged from early modern theology and vegetarianism, late 20th-century debates in France and the US on technology and AI, and to the circulation and diffusion of Adam Smith’s political economic theories in various colonial settings. A recurring theme of the conference, from this observer’s perspective, was how intellectual history as a sub-discipline, with its indebtedness to a rarefied strand of western European philosophical output, can continue to speak with any relevance to other historians and disciplines who are now engaging with increasingly diverse and global intellectual traditions and contexts.

After two days of lively—sometimes anxious—discussion on such issues and the future of intellectual history, participants received a timely reminder of the sub-discipline’s past successes in overcoming skepticism about its relevance in the concluding remarks offered by Professor Martin Jay of UC Berkeley. Specifically, Jay recounted some of the scornful critiques of his first book, The Dialectical Imagination (1971) penned by philosophers contemptuous of the historical method. These critics averred that Jay’s book displayed the weaknesses of contextualization and genealogy of ideas in that it declined to engage with the contemporary and political ramifications of the ideas in question. One philosopher had written that Jay’s historical reconstruction of the Frankfurt School was “a mile long but an inch deep” while another had remarked that “he had brought the pot to a boil but didn’t cook anything” (Alan Montefiore in conversation). By giving a historical account, Jay was reducing the potency of the ideas in the present in favor of a noxious act of contextual delegitimization.

Jay’s subsequent remarks served as a refutation of sorts to this attack on contextualization. Intellectual history can and does have an immediate impact on contemporary affairs, practical and political, as evidenced by the way visual artists used his 1988 essay “The Scopic Regimes of Modernity” as well as the cautionary tale of how right-wing extremists misused The Dialectical Imagination in their anti-Marxist propaganda. More broadly, Jay made the case that intellectual history should not be seen as an activity distinct from the philosopher’s conceptual theorizing or critical analysis but rather as an integral component of it. As Randal Collins observed in The Sociology of Philosophies (pg. 19), the intellectual has always been someone who believes his ideas transcend context and origins and the intellectual historian plays an important role in helping him or her see the idea in a new light, excavating new relationships and resonances inherent in any original intent. For young intellectual historians today, the moral was clear: engaging ideas through their historical contexts, development, and diffusions is not a quietist step away from politics and relevance but a positive, interventionist act in its own right.


Photo © Timothy Wright

In various ways, Jay’s comments tied together a number of important themes dominating the conference’s six panels. Participants were asked to consider not only how their papers would play for historians, but for much wider audiences across disciplines and even beyond academia. Professor Cathryn Carson, for example, pleaded with the presenters on the “Technology and Instrument” panel, and especially Daniel Kelly (“Herbert Simon and the Image of the Future”) to intervene and shape Silicon Valley’s discourse in the area of artificial intelligence. And Lilith Acadia’s paper on the long genealogy of the problematic “consent-based” theories of rape asked what centuries’ old intellectual traditions could mean for public and legal policy. But Professor Carson also noted that intervening in debates of contemporary significance does not simply mean rethinking how we apply the fruits of intellectual inquiry, but also requires adjusting the methods themselves. How might we have to rethink the basic premises of contextualization and time if we want to truly engage with the qualitative disjuncture that Big Data and AI (for example) represent in technological modernity?

When it comes to the them which dominated the conference more than any other, that of what the rise of global history means for intellectual history, the necessity to rethink methodological commitments felt even more pressing. Conference participants explored what methodological or theoretical challenges the intellectual historian interested in global history might have to confront. Some of these challenges involve avoiding one-way reception histories (ideas emanating from Europe which shape the global south), empirical disconnects when applying larger conceptual ideas to local contexts, as well as how to precisely theorize the idea of ‘global’ itself. Several panels, such as Friday afternoon’s “Utility, Usefulness and the Reality of Ideas, and Saturday’s “Political Economy and Intellectual, Colonial Encounters” revolved around such challenges. David Delano (UC Berkeley), in his paper “Of ‘Real’ Abstraction: Social Theory and the ‘Objects’ of Intellectual History” introduced, intentionally or not, the conference’s leitmotif and working theory of the ‘global’, Andrew Sartori’s (NYU) assertion that global intellectual history should take the “spread of capitalist social forms and social relations” as its object. Sartori has posited in various publications that global history shouldn’t be about scale or the increasingly interconnectivity of the world (i.e., the world market), but rather about the global penetration of specific types of abstractions rooted in capitalistic social forms, such as the commodity, or “real abstractions.” “Global intellectual history is what intellectual history becomes once it begins to grapple with the problematic of real abstraction” writes Sartori in the 2014 edited volume, Global Intellectual History (p. 128) edited by Sartori and Samuel Moyn. Delano’s paper, although primarily interested in contextualizing Sartori’s theory within the Frankfurt School and Marxian discussion of how conceptual abstractions emerge from social practices, nevertheless spurred the conference-goers to think more deeply about the theoretical underpinnings of the many transnational projects on display at the conference.

But Sartori’s model of global history had its fair share of objections as well. One faculty commentator, Jonathan Sheehan, pointed out that the discourse of political economy, on which Sartori’s particular reading relies, had begun well before the emergence of the “social.” On a more theoretical level, participants asked whether global intellectual history should really start from the privileging of western, Marxian theoretical constructions (not to mention the western origins of capitalist forms itself). One paper that took such questions seriously was Susanna Ferguson’s (Columbia) paper on pedagogical practices in nineteenth-century Lebanon and how this might advance our understanding of wider, transnational developments and movements within pedagogical thought in a “non-western intellectual history.” In her paper “Tracing Tarbiya: The Political Economy of Pedagogy in Ottoman Mt. Lebanon,” Ferguson positioned her methodology self-consciously against that of Sartori’s in arguing that “local social transformations” explain how pedagogical reforms became the vehicle for a variety of actors and institutions (Catholic missionaries, American Protestant schools, and Sunni Maqasid schools) to pursue their vision of personal and communal transformation amidst modernization in Ottoman Lebanon. These groups were responding to anxieties about social transformation specific to the Ottoman empire and the role of education in bringing about progressive, not revolutionary change. Ferguson emphasized that local contexts must have priority since endogenous corollaries to western ideas might in fact go further in explaining the rise of conceptions of pedagogy, for example, rather than assuming that this must be owed to the diffusion of western ideas. Concepts, as we know, might emerge at the same time in different places.

The other major approach considered by the conference in writing transnational global intellectual history was, of course, that of the diffusion of ideas through translation, transnational intellectual exchange, and comparative analyses. Several papers explored transnational intellectual trends by these methods such as Kaitlyn Tucker’s (Chicago) “Experience as Device: Traces of Russian Formalism in the Ljubljana School of the 1970s,” and Colin Jone’s (Columbia) “The Rise of Social Legal Theory in Interwar Japan.” Colin’s paper and the discussion afterward about Japan’s absorption and reformulations of European theories on “social law” underlined just how difficult it is to write a reception history where the non-western nation (Japan) isn’t simply a receptacle for western ideas. In the case of legal theory, there was very little awareness in the west of Japanese legal theories whereas Japanese thinkers read widely in European thought. This presents a tendency, even when endogenous practices and theories are clearly present but deeply influenced by the new ideas, to formulate the question with an orientation to the European sources. Some ideas explored as to how to nevertheless write a reception or translation history that presents the ‘receiver’ of translations as an agent in its own right was to conceptualize the nature of intellectual transfer as more about a multilayered, and contingent process involving a power dynamics as opposed to a mere set of equal choices in the mind of the translator, intellectual, or members of the public. What about the local context makes some ideas more alive than others? Or what specific choices made in translation can shed light on how the receiving nation shapes, and forms so-called ‘western’ ideas. Aren’t they picking and choosing from the west what they think corresponds to their context? While the global influence of modern western intellectual traditions through colonialism and economic might cannot be ignored, the emphasis must still be on the rich systems into which these ideas were introduced, and the relative impact they had.

Summaries do no justice to the range and depth of the substantial issues emerging in each paper and in the discussions afterward. For example, an issue lurking within many papers but especially in Gili Kliger’s talk “Philosophy from the Margins: Durkheim on the Science and Art of Morality” and the above-mentioned talk by David Delano, was the ever relevant question of the ontological status of ideas themselves and what the ‘object’ of intellectual history should be. Are ideas ultimately reducible to economic and material realities, à la Timothy Mitchell, or should we, following Peter Gordon, pursue a ‘limited’ or ‘restricted’ contextualizing method that references social factors but ultimately maintains a stance of causal indeterminacy to allow for the flexibility and potency of the ideas themselves? It may be telling that most faculty commentators insisted on “more context” from each panel, even if many papers presupposed underlying shifts in economic and political conditions as the origins for the “ideas” in their papers. But even as the tensions over the “grounds” or ultimate “object” of historical inquiry were on full display at this conference and the discussions it engendered, it was also clear from the vibrancy of the debate that intellectual historians will continue to play an indispensable role in precising and elucidating the broader stakes and implications of intellectual output.

For those interested in a complete overview of the panels and participants, please see the conference poster here.

Timothy Wright studies early modern European intellectual history, with an emphasis on the relationships between theology, ritual practice, and secularization. He is currently finishing a dissertation at UC Berkeley on dissident Protestant communities in early enlightenment Germany.  

Histories We Repeat

by guest contributor Timothy Scott Johnson

 You know, I’ve always been suspicious of analogies. But now I find myself at a great feast of analogies, a Coney Island, a Moscow May Day, a Jubilee Year of analogies, and I’m beginning to wonder if by any chance there isn’t a reason.

            Umberto Eco, Foucault’s Pendulum (William Weaver, trans.)

Analogies abound in historical writing. Despite their near-ubiquity, however, I find historical analogies drastically under-examined in modern historical analysis. When examined, they usually emerge under the rubric of explaining why one historian’s analogical reasoning proves defective. But examining historical analogies used by our historical subjects can prompt us to ask larger, important questions.

The work done by Paul Ricoeur and Hayden White on historical tropes and metaphor, Reinhart Koselleck on concepts, and Hans Blumenberg on myth and metaphor all importantly contributed to the study of historical representation. None directly address analogies as such, however. At best, they treat analogy as a subset of metaphor, one in which the connecting logics are perhaps more clearly (or crudely) asserted than in mythic or metaphoric representation. Whereas myth and metaphor tend to be impressionistic with underlying logics pushed to the background, process and structure are foregrounded in historical analogy. Processes, narratives, and historicities embed themselves in historical analogies.

Analogies themselves are one of the key ways of thinking difference and similarity. Accordingly, we should not be all that surprised that the likes of Kant, Humboldt, and Droysen foreground the analogy’s role in rational judgment. And insights on analogy litter the first and concluding chapters of Gilles Deleuze’s Difference and Repetition. Even thinkers further afield like Fourier and Swedenborg were captivated by analogical reasoning. Without planting flags in any particular philosophical camp, it is not, I think, too controversial to recognize the importance of analogical thought in epistemology and aesthetics in general. To push even further, we could speculate with the linguist George Lakoff that analogies are a universal anthropological fact to be dealt with and not simply an anti-rational demon to be exorcized.

If analogies prove part of our human understanding, what then of historical understanding? For historians, analogies provide something akin to the efforts at modeling the so-called hard sciences developed after the Renaissance, making past reflections a sort of historical laboratory for contemporary and future reflection. Luciano Canfora’s brief study Analogia e storia offers some provisional insights into how historians have thought analogically. Dating as far back as Thucydides’ introduction to his History of the Peloponnesian War analogical thinking has been at the historian’s disposal for discerning shared processes and dynamics among different events. Plutarch’s Parallel Lives are perhaps an even clearer exemplar. Canfora’s colleague Carlo Ginzburg has also made the case that Aristotle’s discussion of paradigms in the Rhetoric is essential for understanding his view of history. Yet, at the same time, Canfora observes that large-scale similarities brought about by analogy also tend to obfuscate small-scale differences and represent history as tautological and self-referential. Thus, for instance, by definition every revolution risks being interpreted according to the French or Russian Revolutions. The political as well as historical pitfalls of such heuristics are many. Often, Canfora claims, these analogical oversimplifications can be productive in their own right; they can also be political expedients with little concern for historical understanding.

If the particular analogy of a given event to the French Revolution seems familiar—even well-worn, thanks perhaps to the legacy of Theda Skocpol’s comparative revolutions approach—the French Revolution has had other, more surprising, analogical applications. Often, these applications occurred by historical subjects themselves as a way of grounding their own historical situation. Even before French historian Albert Mathiez claimed the Bolsheviks were neo-Jacobins, for instance, Lenin adopted the mantle for himself. When grasped from the subject’s perspective, examining the historical analogies subjects use to describe and understand their own historical moments, the analogy actually has the power of getting beyond the pitfalls of the historian’s macrohistorical determinations. Rather than foreclosing analysis, they can point to analytic surprises.


Following De Gaulle’s return to government in May 1958, on the cover of the French magazine L’Express a Marianne, symbolic of the French Republic, is ready to guillotine herself.

Take, for instance, the French Revolution’s role in deciphering the French-Algerian War (1954-1962) and the fall of the fourth French Republic. Beyond an occasion to examine the important tensions between colonial difference, identity, and hybridity in postwar France and Algeria, the French Revolution analogy can also act as a diagnostic index uniting assumptions about French politics and history with assumptions about Algerian politics and history. That individuals on all sides of the war would refer to the French Revolution to mediate their own experience is both obvious—nationalism 101, so to speak—and illuminating. It highlights the various expectations actors had of the limits and possibilities of their moment. The historical analogy thus serves as a way into the microhistorical world. Taking subjects’ own large-scale assumptions about the unfolding of history as a starting point allows the historian to reconstruct their moment from within.

Let’s look at three specific instances of this analogy during the war. First is testimony from Jean-Claude Paupert, a veteran of the war in Algeria and subsequent member of pro-Algerian National Liberation Front (FLN) support networks. Despite declaring years later that he was no “revolutionary hothead,” Paupert was tried and found guilty of providing material aid and support to the FLN in 1960. In his closing trial declaration, Paupert explained his actions were meant to defend French civilization and French values, particularly those tied to the Revolution:

I have not chosen to help the Algerians because of their mistreatment, but because the struggle of the Algerian people is a just struggle, and I have not chosen to aid Algerian militants in spite of their terrorism, but because terrorism is their destiny.… Being French is not a virtue stored in a refrigerator, it is a fidelity one invents. To be French today is to be Algerian … We know well, for both princes and for valets, that fraternity is a terrorist act.

The Revolution’s Jacobin ideals of terror and fraternity were applicable in 1960 since Algeria was going through its own revolutionary moment that obeyed the same dynamics as the French Revolution. In this way, examining statements like this one and the many others like it from the war, we can build an understanding of what a nascent metropolitan third worldist engagement meant.

Next is a completely different sentiment, a message from General Jacques Massu, a rightwing supporter of French Algeria. By the end of the war he would help direct the Secrete Army Organization (OAS), a rightwing terrorist group bent on keeping settler control over Algeria. In May of 1958, however, he proved instrumental in bringing down the Fourth Republic and returning Charles de Gaulle to power. In a letter addressed to “Mon Cher Camarade,” dated 13 May 1958, the day of the Algiers generals’ putsch that would bring down the Republic, Massu wrote, “I must ask the best of yourself in order to combat the enemy and make the great ideas of generous France triumph in Algeria, these ideas that, since 1789, have shaken the world” (Bibliothèque de documentation internationale contemporaine, Fonds Daniel Guérin). Pro-colonial military action and the perpetuation of the civilizing mission were behind this instance of analogy to the French Revolution.

Lastly, analogy to the French Revolution emerged as popular among FLN supporters educated either in France or in state-run francophone North African schools. The poet, radio host, and FLN spokesman Jean El-Mouhoub Amrouche, criticized the ethnologist Germaine Tillion for failing to see Algerian nationalists as properly modern political subjects:

It is true that one can hardly recognize these hungry souls demanding the destiny of free men and being inhabited by spiritual needs. ‘Liberty or death’: it was good and true for the great ancestors of 1793 and the barefoot of Year II. Who could imagine the fellagha [rebels] of the Aurès, Oranie, Soummam, or the clandestine actors from the towns or villages of Algeria, have discovered in their desperation the only path towards the light by proclaiming themselves free and sovereign over the land of their forefathers?

Amrouche saw the legitimacy of the Algerian nationalist cause through the prism of the universal French ideals the civilizing mission encouraged him to embrace. Recognizing the FLN’s political legitimacy meant recognizing their affinities with Revolutionary actors.


Jean-Claude Paupert, center, was part of support networks that sheltered Algerians and laundered money for the FLN. (Image from Mediapart)

Simply observing these three different analogies to the French Revolution does not automatically reveal any obvious conclusions, except perhaps about the sheer elasticity of what the French Revolution could mean to different hereditary claimants. And the variety of events within the Revolutionary era of 1789 to 1799 allowed for a large degree of adaptation, highlighting on the one hand citizen military defense or on the other radical Jacobin universalism. But the analogy also works like an index of the type described by Charles Sanders Peirce’s semiotic theory, pointing in various directions to further research questions. Why, for instance, would Paupert and Amrouche think that Algerian history was at a moment similar to the end of old regime France? North African history had been denied by historians throughout the nineteenth and early parts of the twentieth centuries. Perhaps something had changed in perceptions of North African history (and indeed, much had changed). After all, the analogy is not present in earlier moments of anticolonial violence in North Africa. Further, why would a rightwing military officer feel the need to call upon the principles of 1789 when planning a government coup? What conditions would drive Massu to connect French Republicanism with a rather Bonapartist move (another historical analogy ever present in 1958 France)? Insofar as analogies reveal a subject’s assessments of the logics at work in a given moment, they grant a uniquely valuable point of entry for intellectual historians.


Timothy Scott Johnson recently defended his dissertation on the use of the French Revolution in the French-Algerian War at The Graduate Center, City University of New York. His research focuses on the intellectual history of postwar France.  

Solidarity, Fragmentation, & Welfare

by contributing editor Daniel London

The capacity to live with difference is, in my view, the coming question of the twenty-first century. – Stuart Hall

The problem of solidarity is shaping up to be the problem of the 21st century. – David Hollinger

Arthur M. Schlesinger Sr. inaugurated the field of American urban history in 1940 with a sweeping declaration that most of what was most progressive about America originated in cities. This was a result, he believed, of the circumscribed conditions within cities which “forced attention to matters of common concern which could not be ignored even by a people individualistically inclined”. This forcing of attention, in turn, brought with it a “necessary concern with the general welfare” that “nourished a sense of social responsibility”, manifested in collective voluntary action and, ultimately, in the welfare state.

While this interpretation still finds its defenders 60 years later by some unreconstructed social democrats, more specialized scholars of the American welfare state have not echoed it, to put it lightly. Rather than the result of a bottom-up solidaristic consensus or pragmatically pluralist negotiations, the welfare state as described in the work of such luminaries as Michael Katz and Linda Gordon represents the triumph of particular and privileged social groups (white men, mostly), the operations of which were lodged in bureaucracies disconnected from the people they were meant to serve. There is no talk of ‘public good’ in these works, at least with a straight face; rather, the American welfare state is characterized by its uneven and private-sector oriented nature, and its cities permanently characterized by fragmentation and segregation.


Historian Thomas Bender

Both sets of interpretations, apparently irreconcilable, nonetheless rest on a similar set of over-drawn binaries between ‘public’ and ‘private’ as related to normative concepts (the public versus the private good), social groupings (civil society versus the state) and social provision (public sector versus the private sector). Here I would argue for a more open-ended, nuanced, and empirical research agenda as to the relations within and across these pairings, oriented around the concept of “public culture” articulated by Thomas Bender.

The welfare state was, for postwar social theorist and economist T.H. Marshall, the quintessential public good – an enrichment of the “universal status of citizenship” that both emerged from and ensured a “common culture and common experience” among the populace. Many urban historians sympathetic to this interpretation emphasize moments (and spaces) of communication and cooperation between social groups, tracking the rise of a progressive and redistributive Gemeinschaft that transcended, if not replaced, a more ethnos-oriented Gesellschaft.

Other historical works, however, argue that the idea of a “public good” was not only debilitating toward efforts at redistribution (usually via hegemonic interpretations), but that it overshadowed injustices oriented around what Nancy Fraser calls issues of recognition wherein gender and racial differences need to be stressed. Such battles over representation and multiculturalism, of course, are seen by social democrats as displacing attention from mal-distribution by failing to address its real causes, and undermining the solidarity that redistributive campaigns appear to require.

We need to move away from such zero-sum interpretations, and provide more historical accounts of how understandings of the public good were developed, articulated, and gained ideological and political purchase within and across different social groupings. To what extent do policies recognizing social differences (including those of class, race, and gender) inhibit trust, and empathy and cooperation between groups – and vice-versa? When, precisely, do languages and practices around solidarity – both in terms of cultural identifications and more abstract “interests” – weaken or strengthen the respective influence of different social institutions (civil society/state) and sectors (market/state) vis-à-vis one another?

T.H. Marshall also posited a unidirectional link between active “social responsibility” by citizens on the ground and the formations and operations of the Welfare State. Indeed, Marshall believed that at a certain point civil-society institutions such as unions would be unnecessary and distracting: it would be the State that ensured the common good free of any particularizing institutions. Conversely, Jürgen Habermas, believed that the welfare state actually destroyed the “public sphere” by making civil society seemingly unnecessary, thereby reducing citizens to State clients and eroding the zones of privacy – Nancy Fraser calls them “ ‘counter-publics’” – in which citizens can gain clearer and more participatory understanding of their interests.

More empirical work is needed investigating precisely when state organizations (and at what scale) are actually more open to inclusive and open participation than voluntary organizations. A more vexed problem, however, is examining degrees of overlap and connection between civil society organizations, communities, and state organizations. To what extent have diverse publics contributed to more general formation of public opinion on a scale sufficient to influence the state and other social institutions? How have transformations in the ownership and usage of communication – and the physical spaces where inter-group communication literally takes place – influenced their capacities to do so? How have ideas and policies around the ‘public value’ of redistribution and recognition been influenced by changing connections between, and degree of democracy within, these institutions? Finally, how have languages and practices around solidarity and conflict discussed earlier influenced participation within and across civil society and the state?

Finally, we must address the question of policies themselves. The entire point of Welfare, for Schlesinger and Marshall, was to ensure a certain equality of condition and opportunity for individuals that alternative mechanisms – the family, volunteer organizations, and especially the market – could not provide. America represents a “laggard” Welfare state, in the eyes of many historians, to the extent that these purportedly “private” institutions were responsible for sectors of social reproduction. Not only were such institutions insufficient in dealing with major economic crises, but they also discriminated on the basis of the recipients’ status or income in ways that universal, tax-financed policies (across class lines) do not. Other New Left and conservative critics argue that the State, by monopolizing social provision, erodes horizontal solidaristic ties within communities and civil society.

Recent scholarship into comparative welfare state formation, however, has overturned traditional understanding of the American State and welfare policy more generally. Most importantly for the purpose of this essay, they have demonstrated ‘public welfare’ activity always consists of a mixture of institutional players – many of them non-state – and policies at any given time. Under these conditions, how do individuals navigate changing configurations of welfare providers? How do differences in their funding structure (tax financed versus contributory), accessibility (means tested versus universal), and operation (via parochial organizations, civil-society, ‘community’ organizations, and so forth) both reflect and affect patterns of solidarity within and between groups?

51O7y451EUL.jpgAs should be clear from this résumé, any simple characterization of the welfare state as either the embodiment or antithesis of solidarity rests on shaky foundations. The easy, unidirectional link between the “public” good”, the “public” sector, and “public” policies – as ultimately manifesting in the universal welfare state – does not seem born out by the evidence. However, both adherents of this position and its die-hard critics tended to state their cases in overly binary terms. This is partly an understandable reaction to the neoliberal valorization of the private sector since the 1970s. I also believe it stems, however, from the fact that so many historians tend to locate their areas of inquiry outside the realm of policy formation – preventing us from seeing in greater detail the actual inputs and effects of welfare policies on ideas, practices, and institutions as relating to solidarity.

Toward this end, I propose a research program scaffolded around the transformation and consequences of welfare policies (with “welfare” interpreted loosely), but whose locus of inquiry is what Thomas Bender calls the  making of public culture. Public culture encompasses the sites and processes whereby social groups interact and contest for the power to define legitimate social meanings – in my own work, around the meanings of “public” and “private” – for the polity.   This is not consensus or pluralist history, insofar as it critically examines how and why some groups and identities are not represented in these contests. It is, however, unapologetically built around interaction. Not as a way of avoiding questions of power and domination, but of more fully understanding and interrogating it: in Julian Zelizer’s words “how it was structured and changed, where it was contested what its impact was, and what assumptions shaped the discourse that framed it.” To this end, highlighting brief moments of social democratic deliberations or inter-group interactions is not enough: our study must also encompass the translation of (some) of these meanings into actual policies, along with their effects. If this entails a closer examination of institutional formations and interactions that many cultural historians have become accustomed to, so much the better.

What does all of this, finally, have to do with the city? We cannot naively assume that urban areas are, either historically or theoretically, the most generative space for social politics. However, they remain unparalleled as a site for investigating and comparing interactions at their most complex, heterogeneous, and dense. And in our investigations, we will need to deploy the methodologies of intellectual history in order to fully understand the contexts and complexes around the meaning of those keywords – public, private, solidarity, fragmentation – that are all-too-often unreflexively deployed by well-meaning commentators and chroniclers alike.

Images of history

by John Raimo

As often as historians and art historians talk past one another, they also come together before common problems, questions, and sources. Both groups recognize the sheer power of images. Such a moment has reappeared in intellectual history. The recent one hundred and fiftieth celebrations of Aby Warburg’s birth underscored how widely Warburg’s terminology could stretch between art and cultural history. Historians such as Carlo Ginzburg and Patrick Boucheron take iconography as a starting point for deeper and deeper reconstructions of political and intellectual milieus. The work of art historians such as Georges Did-Huberman and Giovanni Careri follow similar patterns shuttling between contextual and formal considerations. Anthropologists too have not been far behind, finding in images the source for new methodologies across disciplines dealing with ideas both in and of history. And many museum curators do not shy away from presenting both ethical and historiographical challenges to the public in precisely this tenor, perhaps most spectacularly in the recent Conflict, Time, Photography exhibit at the Tate Modern.


Guerre 1939-1945. Occupation. Destruction de statues pour récupérer les métaux. La statue du marquis de Condorcet, homme politique français, par Jacques Perrin (1847-1915). Paris, 1941. JAH-REP-34-8

Four ongoing or recent exhibits in Paris also directly engage with the stakes that images—and specifically photography—hold for intellectual history today. Exhibitions dedicated to Seydou Keïta (1921-2001) at the Grand Palais, the photographers of France’s Front populaire (1936-1938) at the Hôtel de Ville, Lore Krüger (1914-2009) at the Musée d’art et d’histoire du Judaïsme, and Josef Sudek (1896-1976) at the Jeu de Paume have this much in common: their images possess immediate documentary and historical charges, intervening histories challenge any recovery of the same, and the images themselves pose different meanings—political and otherwise—in our own time. How does one reconcile these knotty realities to one another, let alone relate them to questions of sheer aesthetic value, enduring or otherwise? Perhaps counter-intuitively, the question touches at once upon the artists themselves as much as upon each show’s respective curators. Together, they answer for the most part magnificently just how ideas and patterns of thinking flow into and out from photographs.


Seydou Keïta, Untitled (1956-1957)

Perhaps no exhibit succeeds so brilliantly as that dedicated to the Malinese photographer Keïta. Self-taught and a portraitist by trade in Bamako, Keïta carefully arranges various customers against complex cloth backdrops in plain-light settings. Several layers of history collide in what only first appear as beautiful, if straightforward portraits. Keïta’s private practice runs from 1948 to 1962, shortly after Mali achieves independence from the French colonial empire. His customers find themselves at a crossroads: both women and men dress in traditional clothing as often as in European or American fashions, often modeling themselves upon the figures of the latest films and popular magazines. A watch ostentatiously displayed, a certain hairstyle, new western clothing, or certain postures together subtly betray consciousness of new cultural models, economic statuses, and social change ranged against Keïta’s brilliantly-patterned backgrounds. Both the circumstances of the photography session and the material object—the photo itself, as the exhibit makes clear—are intended to circulate by word of mouth and hand to hand. Yet an alchemical change also occurs. Keïta’s subjects prove subjects in every sense of the term; their glances say as much, even as they slowly come to look out upon a new country.

At the same time, a personal iconography emerges across the œuvre. Keïta’s workshop feature props (pens, glasses, flowers, and so on) that appear regularly throughout the portraits. An iconographic vocabulary similarly developed in the photographer’s carefully-choreographed poses. An uneasy sort of modernity can be teased out in the tension between these hugely personable figures, their clothing and possessions, and those objects and gestures which both they and Keïta saw fit to add to the compositions.

The art proves doubly-reflexive, looking inwards to the person and to life in Bamako as much as outwards to a rapidly changing Africa and globalization. Keïta’s own touch emerges in the gap. He arranges women into odalisque reclinings, organizes groups of civil servants into full profile portraits, and captures others at their ease wearing traditional clothing. The hindsight of a retrospective allows us to see how closely Keïta simultaneously engages European art history, the stock imagery of popular culture, and a Malinese society in transition throughout his career. The complex of ideas here reveal the subject much as the same ideas flow from the same person, the photographer himself, and finally the image in its own right.

The Front populaire exhibition at the Hôtel de Ville attains a similar achievement, albeit on a different scale. The show follows upon a burst of renewed popular and academic interest in Léon Blum’s government and the period immediately preceding WWII. What emerges in the photos of such luminaries as Robert Capa, Henri Cartier-Bresson, Chim (David Seymour), Robert Doisneau, and Willy Ronis among other photojournalists is little less than a unified, if contested image of a society rapidly refiguring itself. Here technology proves the first hero. The portability of cameras, wide lens and higher resolution photography, and the ability to turn shots into next day’s paper gave birth to a new documentary language. Close-ups from within a crowd, odd angles, photos taken from rooftops hold their own with group portraits of politicians at ease in saloon lounges or mid-speech before thousands.

Fred Stein.jpg

Bastille Day demonstrations, Vincennes 1935 (©FredStein.com)

The great range or even discrepancy of Capa and company’s interests and work suggest a whole society falling at once under the same photographic lens, even as history jostles against advertisements and film stars in the daily papers. The photos appear on equal terms. Even publicity in the sense of public relations proves nascent, if not off balance. Airs of improvisation and the same-old business surround political figures like Blum and his contemporaries. Striking workers and public amusements achieve a glamour just as photographers accord the homeless and unemployed a new dignity. And slowly certain dramatic poses and compositions take on a new regularity across the exhibit. The vocabulary hardens and situations reprise themselves. New understandings of personal and sexual relationships, masculinity and femininity, and modernity itself track across the years. (One gentle criticism should be added here: it would have done well to have included far more female photographers.) What happens, as Michel Winock and others argue, is that French society comes to understand itself in images just as photographers came to learn their full historical potential—‘History’ with a capital ‘H.’

The German photographer Lore Krüger’s work confronts many of the same issues, if more obliquely. Her career and biography stagger the mind. Krüger studies photography with Florence Henri and other Bauhaus-trained photographers while attending lectures with László Rádványi in 1930s Paris, all the while absorbing the lessons of interwar avant-garde photographers (and living in the same house as Arthur Koestler and Walter Benjamin). An exile from Nazi Germany, Krüger passes through Majorca—witnessing Franco’s troops massacre Republican forces in 1936—and mainland Spain at the height of its Civil War before making her way to New York, where she and her husband work for the exile community’s German-language press. Giving up photography after the war, Krüger eventually returns to a quiet life as a translator and author in Eastern Germany before dying in 2009.


Lore Krüger, “Jeune Gitan, Saintes-Maries-de-la-Mer” (1936; © Estate of Lore Krüger)

The exhibits’ curators posthumously assemble what remained of Krüger’s photography. In their composition, lighting, and psychological reach, her work achieves a uniform excellence across still lives, landscapes, portraits of friends, and above all in her studies of interwar gypsies. The balance between all her influences is remarkable, not least as Krüger too follows in the wake of glossy magazines and photojournalism. Yet a dichotomy of sorts also arises. For every ‘political’ image or photograph taken on the street, Krüger veers to high avant-garde experimentation elsewhere. These activities both overlap and command longer periods in her work, persisting until the end of Krüger’s artistic career. Something new emerges at the same time: what might be called the private lives of an avant-garde and an artist in wartime apart from any political engagement. The exhibit’s repeated argument that Krüger’s œuvre forms a consistent whole here seems to miss a much more interesting set of questions. How do we reconstruct private intellectual life, the persistence of international movements once contacts have been severed, and the experience of artistic experimentation continued under the hardest conditions?


Josef Sudek, “The Last Rose” (1956, Musée des Beaux-arts du Canada, Ottawa. 2010 © Estate of Josef Sudek)

All the same issues confront any attempt to wrangle the great, protean Czech photographer Josef Sudek into a coherent retrospective. The portraitist, the architecture and the landscape photographer, the artist of still lives, and the commercial man all jostle against one another over a career spanning the complicated histories of interwar and then communist-era Czechoslovakia. To reduce Sudek’s photography to any political (or apolitical) stance or simpler historical context would be a mistake on the same order of privileging one genre above the others. Yet the Jeu de Paume’s curators attempt something like this. Moving backwards from the interior studies, they claim a certain artistic unity which in turn drives the late Sudek into a sort of inner exile. An impression grows of intervening notions organizing a narrative: the late Romantic artist gradually finds himself confined to a window by the history beyond it, something like an uncritical reprise of Günter Gaus’s old notion of East Germany as a ‘niche society.’ This is not to say that the merits of Sudek’s work do not shine through the exhibit, or that the curators entirely mute his own thinking. The problem is rather that later ideas and contexts—historical or otherwise—drown out the images. As confidently as Keïta’s or as loudly as the Front populaire journalists’ pictures speak to audiences today, others such as Krüger’s and Sudek’s talk to historians, art historians, and all of us in much quieter tones.

Exhibitions reviewed: “Seydou Keïta,” Grand Palais (31 March to 11 July, 2016); “Exposition 1936 : le Front populaire en photographie,” Hôtel de Ville de Paris (19 May to 23 July, 2016); “Lore Krüger : une photographe en exil, 1934-1944,” Musée d’art et d’histoire du Judaïsme (30 March to 17 July, 2016); Josef Sudek : Le monde à ma fenêtre,” Jeu de Paume (7 June to 25 September, 2016).

Fortune. Failure. Fetish. Fest. Aby Warburg’s glorious Nachleben

by guest contributor Dina Gusejnova


Aby Warburg (c. 1900)

Aby Warburg (1866-1929), the philosopher of culture, art historian and psychopathologist of modernity extraordinaire, famously described himself as an “Amburghese di cuore, ebreo di sangue, d’anima Fiorentino.” Having renounced the inheritance of his father’s bank, Warburg became known for his purpose-built library, devoted to the study of what he called the afterlife of antiquity (Das Nachleben der Antike). In 1921, two years after the founding of the Weimar Republic, it grew into a dedicated research institute based in Hamburg. Aby was anxious about the times he lived in, yet some grounds for optimism remained. A core member of his research community, Ernst Cassirer, had been appointed Rector of the University of Hamburg a year prior to his death: the first Jewish Rector in German history. Warburg, suffering a mental breakdown after the First World War, did not live to witness the near destruction of his Institute following its eventual expulsion from Germany to Britain after the Nazi rise to power, nor its resurrection in two locations, London and Hamburg, after the Second World War and the reunification of Germany, respectively.

Few would contest that it is the library in Bloomsbury where the aura of the founder most continues to be felt. The current chief archivist, Claudia Wedepohl, had the initial idea to celebrate the 150th anniversary of Warburg’s birth this July. Though Wedepohl kept a low profile throughout the event, the conference proved her own resounding success. An initial restricted list of free tickets were snapped up within days of the quiet announcement. To make the Warburg Fest happen, the organizers switched to one of the largest lecture halls in the University.

Work. Legacy. Promise

Photo courtesy of the author

As current Director of the Warburg Institute in London, David Freedberg, reminded attendees, however, paradoxically the fortune of the institute had never been less secure than now. It has recently come under great financial pressure from the University of London, and only survived after a 2014 court ruling in its favour. A recent major research project, operating under the enigmatic name of Bilderfahrzeuge (named after a concept Warburg has once used in a postcard), owes its existence not to British but to German taxpayers. It has recruited a majority of its postdoctoral scholars from German institutions. It is worth adding to this that the two Warburgian havens of culture exhibit some anachronisms. They do not appear to attract non-Europeans or non-North Americans. Besides, all but one of the Institute’s Directors have been men, with the only woman, Gertrud Bing, having served from 1954 to 1959. It was particularly puzzling that two distinguished women who have broken paths for Warburg-inspired scholarship, former Archivist Dorothea McEwan and Librarian Jill Kraye, did not speak at the conference.

It is obviously the idea of Warburg’s personality or, more precisely, his elusive fondness for humanism that resonates with some of our contemporaries as it had with his. Intellectuals in Weimar Germany praised his invigorating effect on modern society, particularly at a time, as one scholar put it, when “humanism in Germany is constantly in decline” (Eduard Fraenkel to Aby Warburg, 16 May 1925). Warburg’s case also inspired works on mental illness in cultural history itself. For the philosopher Ernst Cassirer and many others, Warburg’s library gave hope and meaning. Cassirer liked to put it in the words of William Shakespeare: “The lunatic, the lover, and the poet / Are of imagination all compact [….] / And, as imagination bodies forth / The forms of things unknown, the poet’s pen / Turns them to shapes, and gives to airy nothing / A local habitation and a name” (A Midsummer Night’s Dream, Act V, sc. 1).

It was not surprising that the celebration Work. Legacy. Promise also took material possession as one of its themes. Martin Warnke offered a particularly moving vignette in this connection, which highlighted the importance of material memory to the heirs of Warburg’s foundations. He chose to tell the biography of an object. Warburg’s paperweight, a snail, ended up in the possession of a Hamburg art historian, who then bequeathed it to the chief custodian of the Hamburg Kunsthalle Eckhard Schaar, who in turn had made provisions in his will that the snail was to become the rightful property of the Warburg Institute after his death. The snail never reached its destination, however, until one day Mr Schaar’s sister made a sudden appearance at Warnke’s door. She admitted that she had grown unusually attached to it since her childhood. Asked why she was returning it now, she replied that her brother had recently appeared in her dreams, scolding her for not fulfilling her obligations as the executor of his will. The snail’s return had prompted the question which of the two Warburg institutes, the Haus in Hamburg or the Institute in London, would be the rightful owner. In the end, they decided to make a copy. It is then that they realised that the snail which the sister had returned was in fact not made of brass, as Aby Warburg’s notes had described it, at all but of a cheaper alloy. The Hamburg team dutifully produced a brass copy, and Warnke personally used this celebration of Warburg’s birth to hand it over in front of the audience. Curiously, this copy matched Warburg’s own idea more closely than the purported original.

The snail handover

Photo courtesy of the author

So, what are we to make of Warburg’s act of cultural patronage in historical perspective? Horst Bredekamp suggested comparing it to Wilhelmine foundations such as the Bode Museum. Funded with capital sourced from the private banking sector, it emerged at a time when the German state was in severe crisis, but the memory of the public wealth of the Wilhelmine era was still vivid. Scholars of Jewish background were visibly represented there mainly because limitations in the career progression of academics were still in place throughout the Wilhelmine era. In the end, this theme – Warburg’s fraught relationship with his own Jewish identity – was strangely absent in the conference with the exception of Bredekamp’s brief treatment of the so-called “imperial Jews.”

Warburg himself encouraged thinking of his own work as an art historian and ethnographer as a process of “undemonizing the phobically imprinted inherited mass of impressions” [der Entdämonisierungsprozess der phobisch geprägten Eindruckserbmasse]. Did his madness precede Warburg’s method, or is it an occupational risk for anyone trying to think of visual culture both in terms of pedigree and in terms of synchronic association, as Claudia Wedepohl suggested? Was there an aesthetic purpose to Warburg’s assemblages, as George-Didi Huberman’s idea of a knowledge-montage might suggest? Or was Warburg’s way of thinking about lineages and pedigree Darwinian, as Sigrid Weigel insinuated? Like a snail’s path, the life of Warburg’s mind and its afterlives emerged in different ways at this conference.

“Sometimes it appears to me,” Aby Warburg wrote in his diary on April 3, 1929, “as if I, the psycho-historian, were trying to deduct the schizophrenia of the West from the imagery of autobiographical references” (Gombrich, Warburg, p. 302). On this occasion, the most stirring example of this intimate link between Warburg’s persona and the precariousness of our personal present came from W.J.T. Mitchell. Sharing his current work on insanity and visual culture, he sought to make sense of his own son Gabriel’s suicide by placing his project in a comparative perspective with the history of Warburg’s mental life-world.

As Freedberg made clear, the boundary between Enlightenment encyclopaedism and what he called Warburg’s “genealogical” approach, “pathetic in its reliance on reproduction and multiplication,” has always been porous. This critical remark would have felt almost dismissive were it not for the double entendre, which was impossible to miss for those familiar with Warburg’s work. For those doubting Warburg’s powers of logos, he remains a beacon of insight with his pathos. Warburg was not the first to signal the role of the emotions as a factor in the form and transmission of ideas, and in fact had been inspired in this by Darwin as well as his contemporary Richard Semon. His term Pathosformel captures his belief that emotions, like languages, can be captured and transmitted in the form of an engram, gesture, or symbol, and thus become the objects of study. Some papers used Warburgian formulae with a pathos that came close to magical incantations, speaking of Seelenraumbekenner, Engramme höchster Ergriffenheit, Wunschräume and Denkzwischenräume.

As Carlo Ginzburg suggested in advancing his own intellectual genealogy of Warburg’s Pathosformeln, Warburg’s method could be equally seen as a forensic approach to cultural genealogy. By extension, the task in tracing the fortune of an idea is not merely antiquarian but also moral in the way in which aesthetic practice had always been deeply embedded in theories of moral sensibility, if we only think of Burke, Kant, and, in Ginzburg’s case, Pseudo-Longinus. For some art historians, tuning our eye to the veins of the marble from which ancient sculptures were made as if they were indeed the blood vessels of a living being (Frank Fehrenbach) becomes a Warburgian practice. It makes the analysis of form a matter subservient to the understanding of the emotions.

Yet, just as the copied snail turns out to be a more authentic piece than the purported inherited original, some of the less eulogistic papers were in fact far more self-evidently Warburgian. Robert Darnton did not speak about Warburg but returned to an old question: What books did the French read on the eve of the French revolution? He applied Occam’s razor to formulate a more manageable question, namely, what books did the French buy before the French revolution? This allowed him to “use maps to highlight diachronic processes” (Claudia Wedepohl’s phrase), a feature of the Mnemosyne atlas, by tracking the paths of Swiss booksellers. This produced a literary Tour de France which could perhaps have linked back to his own studies of the visual. In the end, however, a fortune history of books and their sellers might not satisfy those seeking to know the fortune histories of ideas.

Contradicting Lorraine Daston’s curious observation that the humanities do not tend to think about the epistemological value of case studies—though without saying as much—Quentin Skinner performed an act of iconographic hermeneutics with his usual rhetorical finesse. In picking up on previous work by Horst Bredekamp on the frontispiece of Hobbes’s Leviathan and his own work on this subject, he effectively articulated a question which had been missing from a room full of answers: Why engage in studies of the Afterlife of Antiquity at all?


Frontispiece of Leviathan by Abraham Bosse, with input from Hobbes (1651)

The answer emerged from his performance of thinking. Without the knowledge of this transmission, we may not be able to discern the meaning of past communications at all, be they textual or visual. (At least not those communications which had themselves been produced by highly erudite authors.) When it comes to the place of Hobbes’s Leviathan in the genealogy of the idea of sovereignty, nobody has developed a more rigorous way of assessing the place of the frontispiece in the architecture of Hobbes’s argument than Skinner himself. His charted path – a genealogy of visual persuasion — leads to the biography of the artist who designed the frontispiece (something which Horst Bredekamp had provided before), as well as to the portraiture of sovereignty itself. Panofsky, Warburg’s mentee, can help with the formal side of this analysis, highlighting the frontispiece’s merging of two opposing traditions of representing power: the triangle of the Trinity (the power of God), and the triangle emerging from tracing the sovereign’s sword and the crozier upwards (to represent the power of the mortal God, or Leviathan). But something more than this is needed

in order to answer the old question which has haunted Hobbes scholars, namely, whether the Mortal Man in the Leviathan was a likeness of Charles I or of his de facto murderer, Oliver Cromwell. Iconology, it turns out, is not the only path to persuasion. Skinner concluded his own hypothesis – that the man is the state itself — with an affective gesture towards a detail so self-evident that it is almost invisible: “Look at that moustache! Look at that hair!” The hair of that mortal man looked remarkably like the phenotype of all the other rulers drawn by Abraham Boss’s pen for his previous patrons. It felt as though a Warburgian Mnemosyne had lifted a veil of confusion through the language of common sense.

Perhaps it is this persistent yearning for a world in which a tiny, ‘pathetic’ detail can suddenly reveal more significant meanings, which might explain Warburg’s persistent appeal to scholars today. To adopt the phrase of an older contemporary of Aby Warburg’s, being determines Nachleben. In the end, who needs a Schrift when you can have a Fest?

Note that video of the full conference proceedings of Aby Warburg 150. Work. Legacy. Promise at the Warburg Institute, London, has been posted online.

Dina Gusejnova is a Lecturer in Modern History at the University of Sheffield. After a PhD in History from the University of Cambridge, she held a Harper-Schmidt fellowship at the University of Chicago and a Leverhulme fellowship at UCL’s Centre for Transnational History. Her interests range from the intellectual history of Weimar Germany to twentieth-century European political thought and the cultural and intellectual history of statelessness. She has just published European Elites and Ideas of Empire, 1917-57 (Cambridge University Pressavailable here with open access), in which she explores the lifeworld of fading empires.

Haunting History

by contributing editor Brooke Palmieri

Even Thucydides, the celebrated father of historical realism, found it impossible to avoid revising the past in the telling of it. “With reference to the speeches in this history,” he writes in the opening to The History of the Peloponnesian War, “it was in all cases difficult to carry them word for word in one’s memory, so my habit has been to make the speakers say what was in my opinion demanded of them by the various occasions.” Dead men cannot verify the truth of the words put into their mouths. Which makes the past into something of a puppet show. Or at least makes history at its core a discipline shaped by desire, the desires we have to make sense of what has happened.

Some place greater demands upon and have wilder desires for their sources than others. Consider Voices from the Spirit World, composed by Isaac and Amy Post and published in Rochester, New York in 1852, a work which can only be described either as spectral historical revisionism, or social justice fan fiction.

Title page © British Library

Title page © British Library

In it, the ghosts of famous dead people contact the authors, who then translate the “spirit rappings” they receive into a series of letters from the spirit world with advice for the living. “Benjamin Franklin” is the editor, who writes in the preface in typical Ben Franklin fashion that “Spirit life would be tiresome, without employment.” Franklin is also credited with contacting the other luminaries of public life, although Thomas Jefferson complains: “I find more difficulty in arranging my communication than when embodied.” The purpose of these spectral communications is, again, in typical Ben Franklin fashion, improvement. “Let no man claim that he has made great improvements in the arts and sciences, unassisted by spirit friends …. It is our object to spread light in the pathway of those who have been blinded by their education, traditions, and sectarian trammels. We come not to blame any; we present these truths, that man…may realize what he is, and what he is to be; to tell him by what he is surrounded.”

It is an incredibly literal way to enact the basic truth that history does offer precedents that can be built off of in the name of progress. But the aims of Voices from the Spirit World go deeper still: Franklin claims his purpose is that “death will have no terrors” for the living who are aware of the spiritual world. That is the best that the Spiritualist Movement had to offer: it was about facing death without fear, it was about ensuring that those who had died had not done so in vain, that their lives could offer wisdom and guidance in times of difficulty. The table of contents is a mixture of founding fathers, famous thinkers, Quaker leaders (the Posts were Quakers), close personal friends, and anonymous ghosts moved to speak.

Table of Contents © British Library

Table of Contents © British Library

The “sentiments” each spirit leaves behind offer advice on a range of topics; Jefferson discusses political economy, Emmanuel Swedenbourg offers a lecture on magnetism, Voltaire oozes witticisms, Napoleon gives an account of “justice” in the afterlife that reads like a warning out of A Christmas Carol (1843):

From Napoleon Bonaparte © British Library

From Napoleon Bonaparte © British Library

But overwhelmingly the spirits speak with one voice: they denounce war, the slave trade and women’s inequality from cover to cover. In a “Communication from G[eorge] Washington. July 29, 1851” the first president condemns slavery: “I regret the government was formed with such an element in it…I cannot find words to express my abhorrence of this accursed system of slavery.” A communication, surprisingly, from John C. Calhoun admits: “It is very unexpected to me to be called upon by Benjamin Franklin, informing that you desired to hear from me…It seems to me unaccountable that my mind should have been so darkened, so blinded, by selfishness, as to live to spread wrong, while I endeavored to persuade myself I was doing right.” Andrew Jackson publishes an apology for his entire life: “I was wrong in almost everything.”

Andrew Jackson's apology © British Library

Andrew Jackson’s apology © British Library

Coincidentally, Isaac and Amy Post were passionate advocates for abolitionism, pacifism, and feminism throughout their lives. So it comes as no surprise that their dabbling in the spiritualist put spectral communication to work within the social justice movements they held dear, and this is what sets Voices from the Spirit World apart from other forays into spiritualism, which deal more expressly with grief and bereavement. The political nature of the work, the view of the other side offered by the Posts is nothing less than a utopia of ghosts.

There are no controversies, no “Sectarian Trammels” in the spirit world, there is no single religion that is better than others, no class, race, or gender-based inequalities. “It seems to me when spirit laws are understood,” Ben Franklin writes “every one will rejoice to be governed by them; hence the earnest desire that fills my heart to spread light before the earthly traveler.” So in place of a theory of progress that culminates, for Marx writing a few years earlier, in communism, the ghost of Ben Franklin would see the pinnacle of the living as submitting to the authority of the dead.

Yet for all its quirks,Voices from the Spirit World fits firmly within a tradition of Quaker publications dating two hundred years earlier to the 1650s, during the Commonwealth period in England. The origins of the movement were drawn from the revolutionary chaos of the English Civil War, and in common with other sects, the Levellers, Ranters, Diggers, Seekers, Baptists, turned their religious enthusiasm to the task of social reform: Quakers over the years advocated prison reform, education reform, gender equality, and racial equality. Particularly, Quakers in the colony of Pennsylvania committed to the abolition of slavery, with petitions against slaveowners (including other Quakers) being written in 1696, and throughout the 18th century until the movement came to a consensus on abolition around 1753, a story well told by Jeann Soderlund in Quakers and Slavery (1985).

The Posts were both Hicksite Quakers, a schismatic spin-off of the Society of Friends who followed the lead of Elias Hicks (1748 – 1830) in arguing that the ‘Inner Light’ (the presence of divinity in each human being) was a higher authority than Scripture. But this too is a more common fate for Quakers than simplistic histories suggest: controversy and schism was constant from the very beginning of the movement, and the ‘Inner Light’ was always a source of conflict, between Quakers and the government, and later between Quaker leaders and members. As a critic John Brown framed the problem in Quakerism the Pathway to Paganisme (1678): “we have much more advantage in dealing with Papists, than in dealing with these Quakers; for the Papists have but one Pope…But here every Quaker hath a Pope within his brest.” In Voices from the Spirit World, the Posts address this history of confrontation particular to the movement through various of its leaders: George Fox, William Penn, Elias Hicks, making them repent their fixation with schism: “O! What I  lost to myself by my Sectarian trammels!” Hicks exclaims.

Voices from the Spirit World is less about the way in which we are haunted by history than about how relentlessly we might haunt the annals of the past, hunt the dead beyond their graves, draw words from their mouths to make meanings of our own circumstances and support our own causes. As Isaac Post writes in the introduction: “To me the subject of man’s present and future condition is of vast importance.” While the form of the book rests as a real limit case to historical revisionism, in spite of the absurdity there is an earnestness to the Post’s project that makes more rigorous and less utopian historical initiatives fall flat.

A special thanks to bookseller Fuchsia Voremberg of Maggs Bros. Ltd for bringing Voices from the Spirit World to the author’s attention.

Institutionalized: Between American Political Development and Intellectual History

by contributing editor Daniel London

Two different kinds of literature sit uneasily next to each other on bookshelves. One group falls under the rubric of American political development (APD) scholarship, an innovative subfield of Political Science. The other books are more generally works of intellectual history and ideas, dedicated to understanding the development, articulation, and life of concepts. Looking to how APD scholars have theorized the role of ideas in their methodology, how can practitioners of both approaches better speak to and inform one another’s research?

Richard Hofstadter (photo by Bernard Gotfryd, circa 1970)

Richard Hofstadter (photo by Bernard Gotfryd, circa 1970)

Such cross-fertilization saw their last great period of flourishing in the 1950s as historians enlisted theories from both the social sciences and the humanities to explain American politics. Richard Hofstadter exemplified this tendency. Hofstadter conceived of politics neither as a pluralistic constellation of self-contained institutions nor as a terrain of materially-driven social conflicts. Rather, Hofstadter drew from the fields of cultural anthropology, social psychology, and Karl Mannheim’s theories on the sociology of knowledge to posit politics as a sphere of behavior in which culture—broadly defined in terms of ideas, attitudes, and values—determined the content of policies. For example, Hofstadter understood the source of Progressive-era politics as deriving from the collective rationalization of a middle-class aspiring to a particular status, rather than strictly class-based goals.

Ironically, Hofstadter’s formulations helped set the stage for a general reduction of politics to ‘the social’ for a generation of historians. New Left historical work in particular saw state institutions as epiphenomenal to the interests and ideologies of the groups which made them up. In response, during the late 1970s and early 1980s, several political scientists dubbed “Neo-Institutionalists” attempted to rescue political history from historians by devising a more complex and historically-grounded definition of their subject matter. Their efforts led to a seminal 1985 edited volume, Bringing the State Back In, which in turn gave impetus for the establishment of the journal Studies in American Political Development the following year. The rest is…well, you know.

APD scholarship explains durable shifts in governing authority via a historical-institutionalist lens. Institutions – governmental or nongovernmental –– function as “bundles of rules” that, while constantly evolving and interacting with broader social/cultural processes, nonetheless contain enough stability and authority to shape the behavior, power and policy preferences of political actors both within and without their boundaries. The activities of these institutions are, in turn, constrained and enabled by: a. the simultaneous and intercurrent activities of other institutional actors (even those who might formally comprise a single “political order”, such as a political party); and b. past policies whose consequences continue to shape the political terrain via “path-dependent” processes. Within this complicated environment, occasional openings for shifts in governing authority can open up: the ultimate subject of inquiry for an APD scholar becomes how and why institutional-grounded actors attempt to control these shifts at a given moment, why some succeed and others fail, and what the consequences of these shifts prove.

51cjmJt3GeL._SX321_BO1,204,203,200_What attracts me to books influenced by the APD framework – classics include Theda Skocpol’s Protecting Soldiers and Mothers: The Political Origins of Social Policy in the United States and Richard Bensel’s The Political Economy of American Industrialization 1877-1900 – is their ability to ground enormous and significant questions in empirically robust and temporally complex narratives. There are no “black boxes” in these books and few monocausal explanations or unidirectional narratives: rather, they account for political transformation via detailed analysis of the resources, motivations, and interactions of a constellation of political actors while situating them in a dynamic context that, from the very beginning, is shaped by deeply historical constraints and opportunities. The sins we usually associate with political science – a-historical functionalism, game theory, rational choice theory – are not in evidence here.

Where do ideas fit into the APD framework? Let us begin with the six-step ideal-type sequence of how political development actually occurs that political scientist Roger Smith sketched:

  1. Contexts of Human Institutions, Practices, Ideas, Natural Orders
  2. Formation of Ideas, Interests and Goals
  3. Coalition Formation and Competition
  4. Capture of Governing Institutions & Policies
  5. Modification of Contexts
  6. Formation of New Contexts

From a given context, political actors inherit and modify their own sets of ideas, interests, and assumptions about the world. These, in turn, create opportunities and constraints for devising new policies and building new alliances within and across institutions in order to achieve them. The third stage comprises actual attempts by these modified institutions to acquire the resources and positions necessary for implementing their policies – typically through the capture of strategic institutions or the formation of new ones. The fourth stage involves the nitty-gritty of getting policies passed and implemented within these transformed institutions, often involving quite a bit of compromise and horse-trading along the way. The consequences of policy implementation then modifies the contexts we began with, thus repeating the cycle. This ideal-type directionality is complicated by the facts that: a. no single stage constitutes the primal “ground” from which the spiral proceeds; every stage is a product of what has come before and feeds into what comes after; b. what drives activity along this spiral, what the consequences of action along the spiral are, and by what route processes proceed through the spiral are completely open, historical, and empirical questions; and c. the real-time actions of other intercurrent actors are constantly influencing every stage of this cycle.

So, where do ideas exist and function in this particular model of APD? Things seem clearest in Stages 2 and 3, which seems to approximate the domain of the Habermasian “public sphere.” The ideas actors use to justify their interests (and the way they frame them) can determine the kind of coalitions they might expect to form in these stages. Whether ideas have this kind of causal power is not a given, however: the influence of ideas, for an APD scholar, must be demonstrated empirically and in explicit relation to the goals, rules, roles, and problems as defined by different institutionally-bound actors at any given time. Ideas also seem to be active in the policy-negotiation stage of phase four, although their precise role is often complicated by the lack of overlap between the goals and assumptions of different negotiators (even within the same political party). For this reason, it is rarely the case that a piece of legislation ‘reflects’ a single idea. On the other hand, following the development of policy formation can often serve to reveal hidden assumptions that could only emerge in the flux of argument, and which can have unexpected influences on the ultimate shape of policy.

It is only partly true APD scholars interest themselves in ideas to the degree that they serve an explanatory function as a “cause” or “enabling condition” for shifts in authority later on. But if we interpret “ideas” broadly here, as political historian George Thomas suggests, there is enormous room for the kind of deep, textured, and hermeneutic work that characterizes the best of intellectual history. In this broader reading, institutions do not merely serve as carriers and receivers of ideas– ideas constituted them. The legitimacy and authority of an institution depends on certain assumptions on what constitutes a fact, on what the “roles” of certain actors are, on where the boundaries between the private and the public lie. Changes in these intellectual underpinnings can (though not always) destabilize the position of institutions and/or provide the basis for the formation of new ones.

I think intellectual historians and their methodology have the most to contribute to APD scholarship on this point. Traditional concerns of intellectual historians – the way a single concept means different things to different people, the way seemingly unrelated topics interact and blend in the minds of actors, and other concerns of intellectual historians – have great potential bearing on the works of APD scholars, not least because they specify the hidden structures of logic and meaning that determine the kind of policies actors believed were possible and desirable. A nuanced investigation of these structures at stage one and two of Smith’s cycle can create a dramatically different explanatory agenda further down the cycle.

At the same time, I believe that the kinds of concerns and approaches adopted by APD scholars can inform the work of intellectual historians. Most obviously, Smith’s “spiral of politics” provides us with broader contexts in which to trace the origin, development, and influence of ideas. The arena of policy negotiation, the process of coalition formation, the structuring and restructuring of institutions: all these hold enormous potential as “sites” of intellectual history. The APD concepts of “intercurrence” and “path-dependence” might also be translated and operationalized into intellectual-history work, though this will take some trial-and-error. But these are only my initial impressions and suggestions. In what ways do you think intellectual historians and APD scholars can borrow from and assist each other – and where might be sources of tension that might have to be addressed for this to take place?