Eavesdropper on the Past: John W. Burrow (1935–2009), Intellectual History and Its Future

Summary

Focused on the much-debated historiographical and academic status of intellectual history, this article addresses for the first time and in detail the methodological views of the British historian John Wyon Burrow (1935–2009). Making use both of his published works and of unpublished material left to the University of Sussex Library (including lectures, letters, academic projects and biographical sketches), its goal is to provide a thorough account of an original and eclectic intellectual historian and, at the same time, cast new light on the role of the discipline in the scholarly context of the last few decades in Europe and the US. More specifically, the following pages will illustrate Burrow's work and career, with particular attention being paid to his insistence on narrative, imagination, irony and style; present his writings as an original instance of the anti-methodological practice of intellectual history; and study his opinions of what it means to carry out the métier d'historien. Finally, by examining Burrow's idea of the intellectual historian as a creative ‘eavesdropper’ on the ‘conversations of the past’ and as a ‘translator’ of past dialogues, this article will both pose some central questions and advance some proposals concerning the future of intellectual history.     

THE SYNTAX OF OBJECTS AND THE REPRESENTATION OF HISTORY: SPEAKING OF SLAVERY IN NEW YORK

The representation of history continues to evolve in the domain of museum exhibitions. This evolution is informed in part by the creation of new display methods—many of which depart from the traditional conventions used to achieve the "museum effect"—in part by an increased attention to the museum-visitor relationship. In this context the ethical force of bearing witness, at times a crucial aspect of the museum experience, has emerged as a particularly compelling issue. In seeking to represent and address atrocity, injustice, and the abrogation of human rights, museums have the potential to become "sites of conscience" and to encourage "historical consciousness." Through a series of three exhibitions devoted to slavery, the New-York Historical Society demonstrated how such sites can be constructed and how objects can be deployed to represent extreme or "limit cases." In this review/essay I investigate and interrogate these exhibitions, looking closely at the use of objects as a source of "indirect testimony" (Marc Bloch) and at the "dialogical situation" (Paul Ricoeur) that might arise in an encounter among objects, exhibit narratives, and visitors. Thinking in terms of point of view, I look at the variety of rhetorical platforms from which objects speak in these exhibitions; thinking in terms of syntax, I look at the effects of ordering and of the radical juxtaposition of objects; thinking in terms of irony, I look at the provocations of double-voiced narratives and at how objects are used to support those historical sentences.     

Navigating the “International Dots and Dashes”: David W. McFadden's Great Lakes Suite and the Canada–US Border

In Great Lakes Suite (1997), David W. McFadden fictionalizes his travels around three Great Lakes bisected by the Canada–US border. McFadden both uses and subverts generalizations and stereotypes as the text destabilizes categories of sameness and difference, illustrating an unsettled and unsettling Canada–US relationship. McFadden demonstrates that the “hospitable” relations between Canada and the US are rife with power imbalances: the positions of host and guest, and relations of hospitality and hostility, do not remain fixed, often undermining the Canadian host position. Writing in the aftermath of the Vietnam War, at the time of US intervention in Nicaragua, and leading up to the Free Trade Agreement (FTA), McFadden demonstrates that power constitutes the clearest distinction between Canada and the US. In the midst of Canadian struggles for political and economic power, McFadden uses an ironic humor to reclaim a cultural power for Canada as he argues in favor of maintaining the border.     

A masculinist northern wilderness and the emancipatory potential of literary irony

There has been an increasing body of critical research in modern literary geography claiming that forms of social oppression and injustice can become established through the institution of literature. It has also been stated that literature can equally well act as an emancipatory ‘tool’ through which subjugated histories are rewritten. This article is concerned with the colonialist history of Finnish northern literature, Lapland romanticism, the exoticism of nature and the interrelations of these with masculinism and sexist oppression. It discusses how northern nature is romanticized through literary stereotypes based on masculinist values and a multidimensional social process of sexism, and how the regional marginalization of northern Finland has been justified at the same time. The primary focus is on the emancipatory potential of untraditional northern literature, on a northern female author, Rosa Liksom, who through her unconventional literary irony has functioned as an emancipatory ‘project’ against the masculinist stereotypes of the northern wilderness. Liksom's literary irony serves as a metafictive ‘method’ working in pursuit of revealing its own discursive structure, as a strategy through which literary conventions and their wider social context become deconstructed.     

Interrupting Augustine: Hermeneutics,Allegory, and Irony in El perro del hortelano

Whatever else El perro del hortelano might be, it is a deeply ironic text about the difficulties of reading. The play not only stages acts of reading and writing where irony disrupts understanding, it is itself an ironic reading of Augustine's moment of conversion that shows the difficulty of allegorical and programmatic readings.     

Wenceslao Fernández Flórez: The Evolution of His Technique in his Novels

The widely divergent and sometimes hostile reactions to literary texts whose writers use irony signal the complexity of this type of interaction between writer, reader, and text. Particularly when there is also an ironic main character, varied understandings of these texts can reveal a shifting network of discursive communities. Linda Hutcheon's Irony's Edge: The Theory and Politics of Irony analyzes how and why these communities are formed or disrupted. Maryse Condé's Hérémakhonon and Mongo Beti's Mission terminée are examples of texts whose writers were criticized for reasons that appear to be related to the ways in which the irony of both writer and narrator led to a disruption of the discursive communities whose shared contexts make irony possible.     

Creating the semi-living: on politics, aesthetics and the more-than-human

Though geographers have remarked on the aesthetic and political character of a technoscientific biology, there has been an accompanying tendency, following disciplinary trends and social theory more broadly, to read these as being separate issues at the analytic as well as substantive level. Whereas the former becomes read as a matter of artistic practice and appreciation, or visual appraisal, the latter is considered to be the exercise of power through discipline and regulation. Here, I draw upon Rancière's The Politics of Aesthetics (2007, Continuum, London) to make a stronger claim for the role of the aesthetic, wherein a political regime is understood to be comprised of a 'distribution of the sensible' that orders what can be seen and what can be said about it, that determines who has the ability to see and to speak, that organises the properties of spaces and the possibilities of time, and that locates the identity of the quick and the dead within a grid of intelligibility. Political struggle is necessarily aesthetic insofar as it is an attempt to reconfigure the place not only of particular groups, but also the social order within which they are embedded. For Rancière, artistic practices are but particular ways of making and doing; they can have a distinctly political function, however, in the way that they reorder the relations among spaces and times, subjects and objects. To animate this discussion I draw on examples from critical BioArt that address the more-than-human world of Semi-Living Objects. From overt manifesto to ironic commentary, the practices, understandings and artefacts that comprise BioArt work to challenge the political, economic, cultural and ethical contexts within which a modern-day technoscientific biology operates.     

Bakhtin,Boredom, and the ‘Democratization of Skepticism’

This article examines recent scholarly work on boredom by drawing on Mikhail Bakhtin’s account of modernity, irony, and mass skepticism. In The Arcades Project, Walter Benjamin noted that, beginning in the 1840s, Western societies had been gripped by an “epidemic of boredom.” He was referring to a peculiarly modern form of mass boredom, associated with the “atrophy of experience” in a mechanized and urbanized social life—a boredom Elizabeth S. Goodstein has characterized as the “democratization of skepticism.” Although Bakhtin says little about “boredom” directly, he probes the sociocultural conditions that give rise to it. Bakhtin, for example, celebrates the liberatory and egalitarian promise of modern vernacular speech, which displays a healthy suspicion of “monotonic” qualities of elite genres, and which springs not from the pulpit or the palace, but from the street, the marketplace and the public square. Bakhtin is concerned about the nihilistic implications of this disenchantment of the world and the threats it poses—indifference, reification and alienation—to the “participative” mode of social life he favours.     

INTENTION AND IRONY: THE MISSED ENCOUNTER BETWEEN HAYDEN WHITE AND QUENTIN SKINNER

No contemporary intellectual historian has produced more influential reflections on the historian's craft than Hayden White and Quentin Skinner, yet their legacy has never been meaningfully compared. Doing so reveals a surprising complementarity in their approach, at least to the extent that Skinner's stress on recovering the intentionality of authors fits well with White's observation that irony is the dominant rhetorical mode of historical narrative in our day. Irony itself, to be sure, has to be divided broadly speaking into its dramatic or Socratic variants and the unstable and paradoxical alternative defended by poststructuralist critics. The latter produced in White an anxiety about the anarchistic implications of an allegedly inherent undecidability in historical interpretation and narration, which threatened to conflate history entirely with fiction. By recovering the necessary role of intentionality as a prerequisite for a more moderate version of Socratic and dramatic irony—in which hindsight provides some purchase on a truth denied actors at the time history is made—it is possible to rescue an ironic attitude that can register the frequency of unintended consequences without surrendering to the conclusion that no explanation or interpretation is superior to another. Against yet a third alternative, which tries to reconstruct the past rationally as a prelude to the present, acknowledging the ironic undermining of intentions avoids giving all the power to the contemporary historian and restores a dialogic balance between actors in the past and their present‐day interpreters.     

Laughing at northernness: postcolonialism and metafictive irony in the imaginative geography

This paper examines the role played by literature in constructing regional otherness focusing on a case study of Northern Finland. In the case of the Finnish North the direct connections between literary tradition, cultural imaginativeness and spatial otherness have been distinctive. Literary stereotypes concerning northern exoticism and the romantics have formed an imaginary contrast with the southern culture, a homogeneous region without any contradictions, imagined by the southern culture in a manner that meets its own hegemonic needs. The defining of the North exclusively in terms of a binary opposition between nature and culture has implied a multidimensional exercise of power in which culture and civilization have justified their own existence by excluding their opposites. In this article northern literature is perceived as a ‘tool’ not only for constructing otherness but also for deconstructing and decolonizing it. Northern imagination is viewed from a metafictional perspective, and the focus is on how the postmodern northern irony is self-consciously concerned about its own social discursiveness, i.e. northern marginality. In the present case the metafictive approach also stands for a methodological possibility for geographers to view literary discourses of otherness more from above. Attention is focused on the eccentrically obtrusive northern artist Rosa Liksom, the pseudonym of a novelist/visual artist who has transformed her northern irony into an emancipatory project.