In Historical Representation Frank Ankersmit seeks a juste milieu between postmodern theory and historical practice. But he still insists that the meaning of a historical representation “is not found, but made in and by [the] text.” Thus “there will be nothing, outside the text itself, that can govern or check [the conceptualization].” Accordingly, “a representation itself cannot be interpreted as one large description. I would not hesitate to say that this—and nothing else—is the central (...) problem in the philosophy of history.” On the other hand, he affirms that “a historical representation ‘is about’ a certain part of the past,” that historical debate is a “semantic quarrel not about the exact meaning of words, but about the past.” Everything hinges on how to grasp this idea of “aboutness.” I propose an alternative reading of post-positivist philosophy of science in hopes of reaching the juste milieu. The issue is whether colligatory concepts in history have a more radically constructed character than theoretical terms in natural-scientific theory, and whether, as with the latter, they can make intersubjective claims to warrant. My view is that colligatory concepts in historical representations can be conceived to refer in roughly the same way that theoretical terms do in natural-scientific theories. All the problems I find in Ankersmit’s approach come to the fore in his fruitful analogy to portrait painting. First, the personality the portrait evokes is not restricted to the representation, but is of the sitter. We are offered insight not into painting but into an actual character. That is, there is a cognitive, not simply an aesthetic, dimension to representation. Historical terms pick out something intersubjectively affirmable in reality, and discrimination is possible among rival versions. The question is how to regard—to explain and to evaluate—these underdetermined objects of consideration, not to preclude them by stipulation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Representation and the Nation-State in Romantic Belgium (1830–1850)Jo TollebeekThe transformation of the Ancien Régime society of estates into the modern state system as it exists in Europe today was concluded during the “long nineteenth century.” This process of transformation came about in two waves. In a first wave—during the decades preceding and following the French Revolution, roughly the years 1780-1848—the framework for the nation-state was created. (...) It was mainly the liberal bourgeoisie which stood at the forefront. After the Congress of Vienna, where the “ante bellum” situation had been restored, it led more or less successful national revolutions in Germany, Italy, Spain, Belgium, and Poland. In a second wave, starting with the Franco-Prussian War of 1870 and ending with the First World War, the framework of the nation-state was filled in. In those years a growing number of social groups found accommodation in the liberal house, which they also managed thoroughly to rebuild. This period can be described as the phase of integrated nationalism.Together with the nation-state came the rise of modern national his-toriography. The most well-known exponents of this typically nineteenth-century genre were the monumental outlines of national pasts which started appearing from 1890 onward. Karl Lamprecht in Germany (Deutsche Geschichte, 1890–1909), Pieter Jan Blok in the Netherlands (Geschiedenis van het Nederlandsche Volk, 1892–1908), Henri Pirenne in Belgium (Histoire de Belgique, 1900–1932), and Ernest Lavisse and his collaborators in France (Histoire de France, 1901–11) all gave their respective countries’ pasts an impressive, scholarly design. The first phase of the emergence of the nation-state, however, was also ac-companied by a stream of national histories. Johannes von Müller in Switzerland (Geschichten Schweizerischer Eidgenossenschaft, 1786–1808), Simonde de [End Page 329] Sismondi in Italy (Histoire des Républiques italiennes du Moyen Age, 1807–18), Augustin Thierry in France (Lettres sur l’Histoire de France, 1820–27), and Willem Bilderdijk in the Netherlands (Geschiedenis des Vader-lands, posthumously 1833–53) all became authors of patriotic and romantically tinted surveys and studies of (fragments from) their own national history.The work of this second group of historians fits with the cultural nationalism which took root during the last decades of the eighteenth and the beginning of the nineteenth centuries and which is sometimes considered to have been the heart of romantic nationalism. 1 The supporters of this nationalism were con-vinced that culture, lifestyle, and social institutions could only be understood as the expression of the “soul,” the “spirit,” or the “character” of a people or nation. They tried to deduce this individual character through the language, popular literature, art, and “national” (as opposed to Roman) law, as is demonstrated by the Gaelic revival in Ireland. 2 History, however, also attracted their interest; the nation and the people were after all considered to be dynamic entities which developed along the lines of a multiple causal process. In England, for example, where nationalism arose as a protest against excessive foreign—French—cultural influence, a group of historians, among them Catherine Macaulay and John Pinkerton, started publishing nationalistic histories during the early years of George III’s reign, paying special attention to the origin of the English people. 3 Such cultural nationalism could, however, easily take on political overtones, especially when it was the nationalism of a people who were either stateless or dispersed throughout different states, or whose state was still young.These earliest national histories were meant as a contribution to the formation, consolidation, and confirmation of a national identity. Their writers had to lend unity, specificity, and continuity to the national past. They had to, as Novalis observed in 1798, “organize historical essentials.” 4 Their work was less a matter of reconstruction than of construction. It not only required the exploration of a hitherto unknown field, but first and foremost the resolution of new problems of representation inherent in the writing of “national biographies.” In this essay, I shall discuss some of these problems in the light of Belgian national historical writing from 1830 through 1850. The year 1830 constitutes an important watershed in the history of national movements... (shrink)

In his latest book, Frank Ankersmit proposes an original theory of historical representation. In this review I focus on what I take to be his most important semantic points with respect to representation, meaning, truth, and reference. First, I provide a short summary of the book. Second, I explore his semantics in terms of aspects and compare it with a different account inspired by the Fregean notion of mode of presentation. As my examination shows, Ankersmit’s analysis faces (...) the problem of “loosing indirectness” and, moreover, there seems to exist an alternative and plausible view that does not suffer from this problem. Finally, I conclude with a couple of comments on the Copernican Revolution advocated in the book. (shrink)

The vocabulary of representation is better suited to an understanding of historiography than the vocabularies of description and interpretation. Since both art and historiography represent the world, they are closer to science than are criticism and the history of art because the interpretation of meaning is the specialty of the latter two fields. Historiography is less secure in its attempt to represent the world than art is; historiography is more artificial, more an expression of cultural codes than art itself. (...) Historiography is a suitable paradigm for studying certain philosophical problems, particularly epistemology, or codified representation. Representation always requires the presence of two sets of non-referential logical dummies; disturbing the symmetry between these logical dummies gives rise to the position of realism and idealism. Epistemology is strongly inclined to disturb this symmetry. The parallels between recent developments in art and those in historiography demonstrate how much historiography is part of the contemporary cultural world. The deficiencies of modern philosophy of history can largely be explained by its tendency to neglect the cultural significance of the writing of history. (shrink)

Several authors argue that historical works should be viewed as relatively complex and autonomous constructions that are of interest in their own right. In the paper I follow this general approach to history and provide an analysis of historical representation inspired mainly by Nelson Goodman’s observations about symbols. In Languages of Art, Goodman makes a number of interesting claims regarding pictorial representation, exemplification and expression, which could be employed to clarify certain semantic questions of history. He (...) convincingly shows that there are two important questions about any representation: What is the representation about and what kind of representation is it? In the paper I make use of this two-questions point in order to explore the semantics of historical representation. In particular, this point helps to emphasize that historical works are not simple reports about past events but rather symbols revealing what kinds of representations they are, i.e. what they exemplify or express. (shrink)

In his latest book Frank Ankersmit develops a comprehensive philosophical perspective on the problem of the truth and reference of historical representations. The approach and the wider perspective of the book largely belong to what could be called the postmodernist paradigm, in spite of some recent attempts to interpret Ankersmit's recent work differently. Since his 1983 Narrative Logic Ankersmit has propounded the view that individual statements that constitute historical representations may have reference, but that representations themselves do not. (...) His most recent book remains faithful to this position and elaborates it further. This essay examines Ankersmit's arguments as well as the assumptions and implications of this view. (shrink)

3D digitization of social legacy has been utilized to safeguard data about colonial legacy items like design, craftsmanship, and trinkets. The 3-d unfolding of gadgets via improvements including elevated reality, augmented reality, and 3-d printing have affected the fields of expertise records and social legacy and features grow to be extra normal. However, concentrates on that go past the specialized parts of 3D innovation and treat such points as their importance for reclamation, protection, commitment, schooling, exploration, and morals scarcely exist. (...) The point of this paper is twofold: from one perspective, it expects to get a superior comprehension of the materialness of every innovation for various purposes gallery show, and, then again, it centers on the discernment of these innovations. This exploration was completed by joining a writing survey with quantitative and subjective investigations of the information procured through a study of SIX inquiries a. Given the analysis of this quantitative and personal information, we give a few measures to utilizing 3D digitized and printed multiplications to upgrade social encounters. The outcomes show the significance of cautiously planning 3D collaborations in the individual and social settings of end-clients and colonial establishments in a request to make genuine social encounters_._. (shrink)

Argument“The Case of Ellen West” was published by the Swiss psychiatrist, Ludwig Binswanger, in 1944–1945. The case-history depicts the illness and suicide of a young woman who was his patient twenty years earlier. It came to be considered one of the paradigmatic studies of the newly established discipline ofDaseinsanalyse, an attempt to synthesize existential philosophy and therapeutic practice. This paper analyzes the case-study, employing newly uncovered archival material to expose important details regarding the treatment of Ellen West and the posthumous (...) writing of her case-history. The richness of the archival sources and the various historiographical characteristics they exhibit raise methodological questions about the potentialities and limitations of historical representation. The new data will thus serve as a platform from which to explore and discuss more generally the problems involved in historical reconstruction – of both subjective experience and clinical knowledge – and the questions of authorship and intertextuality in the genre of the case-history. (shrink)

Excepting the first half of Athēnaiōn Politeia, whose authorship remains controversial, there are no works of historical inquiry in the Aristotelian corpus. This contributes to the impression that Aristotle’s political theory abstracts from history. This judgment is reinforced by statements in the Poetics diminishing history and historians in favor of poetry and the poets. I offer a more nuanced interpretation, relying principally on an intertextual reading of the Athēnaiōn Politeia and Book Five of the Politics. Both texts direct the (...) reader’s attention to history, though in dramatically different ways. I argue that Aristotle’s uses of history are essential to his conversational engagements with the narratives that human beings construct in order to make sense of their experiences and to clarify options for choice. Read in a dialogic spirit, these texts underscore the possibilities and hazards of civic agency and preserve the importance of history, as well as poetry, for Aristotle’s political theory. (shrink)

History-based trade books, such as biographies, narrative non-fiction, and expository texts, are essential secondary sources in social studies classrooms. Research, though, indicates a preponderance of misrepresentations in trade books’ depictions of historical eras and figures. We examined trade books’ historical representation of John Fitzgerald Kennedy, an iconic American president. The data sample featured biographies targeting various grade-ranges and published in different eras. Including books targeting early grade, middle grade, and high school students enabled comparisons of historical (...) representation within and between different grade-ranges. Incorporating texts published in different eras allowed for consideration of how Kennedy's historical representation changed over time. Mixed methods content analysis—reliant on both open and axial-coding—yielded important findings about how children's and young adult authors depicted Kennedy's family history, particularly during World War II, privileged social position, Catholicism, wife, health, tensions during his presidency, and his assassination and subsequent conspiracy theories. Trade books’ representations appeared to be shaped more by date-of-publication than intended age of the reader. Identified historical misrepresentations included presentism, omission, exceptionalism, and heroification. Significance for teachers and researchers is articulated and practical classroom suggestions are provided. (shrink)

This paper explores the contemporary phenomenological and psychoanalytical analyses of testimonies regarding traumatic historical events, with special attention to how such testimonies pose new challenges for the historiography of historical events in which witnesses participated. By exploring discussions on the memory of the Holocaust as well as the Spanish Civil War and Francoist repression, this paper addresses the extent to which the tensions and temporalities underlying the process of bearing witness to and giving testimony about traumatic historical (...) events might reshape how their history is being told, written, and remembered. (shrink)

This essay examines different viewpoints taken by historians and theorists in three important debates about the Holocaust and the Nazi past in Germany. Analysis shows that the content and form of historical judgment, the limits of historical narratives, and the referential connections between "facts," "representation," and "truth" are more problematic than historians and social theorists taking part in these debates would like to believe. Examples show that attempts to represent past "reality" are closely related to the politically (...) and socially significant interplay between individual and communal search for legitimation, and the legitimation of the past by the authority of the present. A hidden similarity--the fundamental belief in the ability of representation to capture past "reality" and thus its universal validity--appears amid the seemingly antithetical opinions and theoretical assumptions in these debates. Even in cases of historical phenomena as morally, politically, and intellectually challenging as the Holocaust, understanding historical representation in the framework of the self-referentiality of historical texts, and accepting the propositional nature of historical writing, is crucial. (shrink)

This article examines the concept of “perspective” as an embodied metaphor with ontological and epistemological implications for the modeling of historical understanding of contested pasts. The metaphors employed in modeling past reality shape how we make sense of the controversial past. In particular, I explore how perspectival metaphorical models conjure the notions of presence/proximity/engagement and absence/distance/detachment. To open this up, the paper juxtaposes two distinct models of seeing and knowing as sources of embodied metaphor: 1) static and distancing optical (...) metaphors of cognition, and 2) a “post-cognitive” process of interaction. I argue that the shift towards the affective, experiential and immersive forms of engagement in historical representation is indicative of the growing importance of dynamic, embodied and interactive features in mediated models of the past. The paper concludes by discussing the implications of virtual reality as an emergent medium that offers a new way of modeling the past. Despite its novelty, however, virtual reality raises age-old questions about the dynamics of engagement and detachment in historical understanding. (shrink)

Historicism -- Time -- Interpretation -- Representation -- Reference -- Truth -- Meaning -- Presence -- Experience (I) -- Experience (II) -- Subjectivity -- Politics.

The polymath Michel de Certeau is traditionally seen as one of a group of French poststructuralist thinkers who reject constructs in the social sciences in favor of the diversity of the everyday or the past. However, in this paper I will show that, as a historian, Certeau did not discard these constructs, but rather valued them as a means of doing justice to the “strangeness” of the past. The position that Certeau adopts can be seen most clearly from his theoretical (...) debate with Paul Veyne, which is the starting point of this article. I then show how Certeau’s first major historical work, The Possession at Loudun, exemplifies his theoretical position. An analysis of this work demonstrates how the historian’s active reconstruction of interactions between exorcists, medical doctors, state officers, and possessed nuns helps us to perceive the complexity of the past in a way that can be seen as a microhistory avant la lettre. I will suggest that during his writing of the history of Loudun, Certeau implicitly raises more theoretical and epistemological problems, and in so doing he “practices” a theory of history. The most elusive aspect of the story at Loudun turns out to be the drama around the priest Grandier. This article demonstrates how Certeau pays tribute to Grandier by using “scientific” methods, thus showing the “limits of representation” through disciplinary means. Finally, the article explores the implications of Certeau’s theory and practice of the writing of history for understanding historiography at large. The historian not only appears as a tramp who looks for remains that are forever lost to us, but is also a “scientist” who uses both models and concepts in order to put them to the test. (shrink)

This chapter shows that there is a notion of representation in which truth and representation go together while representation openly and proudly parades the roots it has in aesthetic representation. The main uses of representation are linguistic representation, political representation, and aesthetic representation. Truth has been used for political representation – when a political collectivity engages its political will. Representation becomes a mere spin‐off of the notion of truth adapting itself (...) to anything the philosopher of language has to say about truth. Toward the end of his Connections to the World, Danto characterizes the human being as an ens representans, suggesting that the capacity of representation is our essence, as human beings. Historical reality only comes into being ex post facto when the past no longer exists. Historical writing is the science of the ex post facto. (shrink)

The Death of the Past argues that critical problems in the philosophy of history, such as the the truth of historical texts, how texts relate to the past that they are about, and the nature of historical explanation, can be successfully investigated if we accept the claim that historical writing is historicist--perspectival (from the standpoint of the historian) rather than purporting to be like an eyewitness account (as in the first-person "presentist" views critiqued by Enzo Traverso). This (...) approach admits all relevant evidence as subject to analysis in order to determine the widest point of view, as opposed to the biased "eyewitness" approach, which observes only partially. The link between the past itself and historical knowledge is radically broken, giving the latter the wisdom of hindsight across a broader temporal field from the events examined up to the present. The truth about the past is only accessible from a later point in time; "the past" itself is not a reality for the historian; it no longer exists. Frank Ankersmit offers a surprising foundation for the historicist notion of history: Leibniz' monadological universe, in which each monad or substance has its own point of view. There is no deeper ontology to which they owe their status--just an infinity of monads and a corresponding infinity of points of view on other monads. So with historical representations, statements about the past that can be either true or false but not depictions of the past itself. In striking contrast to Hayden White's view, Ankersmit insists that historical writing is no less rational than the sciences-- mathematical and scientific writing has its counterpart in the writing of history. (shrink)

The performative representation of the Spanish Roma woman reveals a historical journey that brings her closer to many symbolic elaborations of the feminine, giving her a special affinity with the imaginary concerning the colonized woman, particularly with the Orientalist vision. Developed initially by the travelling intellectuals in Spain who sought a fusion of the topics of sexualized exoticism, the myth was reworked by local artists and thinkers without undermining their power to silence and make invisible the reality of (...) the most vulnerable and most represented members of the ethnic group, their women. Today, a growing awareness of the importance of collective action directs Roma women to initiatives such as the revision of their historical memory, at the intersection between the external gaze and self-perception. These searches lead to the pioneering creation of community museum institutions, which have arisen around feminine Roma associations and are a symptom of an emerging desire to be heard. Based on the terminological tools shared by women and memory studies, this article seeks the personal dimension of this invitation to listen. The authors analyse a series of interviews with Roma women that investigate the social agents of representation, self-representation and their conceptual and experiential foundations. (shrink)

The important role of mathematical representations in scientific thinking has received little attention from cognitive scientists. This study argues that neglect of this issue is unwarranted, given existing cognitive theories and laws, together with promising results from the cognitive historical analysis of several important scientists. In particular, while the mathematical wizardry of James Clerk Maxwell differed dramatically from the experimental approaches favored by Michael Faraday, Maxwell himself recognized Faraday as “in reality a mathematician of a very high order,” and (...) his own work as in some respects a re‐representation of Faraday’s field theory in analytic terms. The implications of the similarities and differences between the two figures open new perspectives on the cognitive role of mathematics as a learned mode of representation in science. (shrink)

The genre of the ‘historical film’, or ‘history film’, is protean to such a degree that it is possible to grasp its true nature only by studying the relationships it entertains with history, which is the sole common denominator capable of validating it and of providing an angle of attack for dealing with questions (such as ‘Does this film conform to historical reality?’ and ‘Is it a faithful reconstruction?’) that have more to do with movie-buff criticism or erudition (...) than with a process of reasoning properly seeking to establish a semiotics of the cinematographic representation of history. (shrink)

This essay discusses the role of the notions of reference, truth, and meaning in historical representation. Four major claims will be argued. First, conditional for all meaningful discussion of historical representation is that one radically discards from one's mind the paradigm of the true statement and all the epistemological and ontological problems occasioned by it. Second, representation is not a two-place, but a three-place operator: in representation a represented reality is represented by a (...) class='Hi'>representation focusing on certain aspects of represented reality . Third, applying the notions of reference, truth, and meaning to historical representations compels us to give them a content basically different from the ones they have in contemporary philosophy of language and science. Fourth, it will be shown that in representation, meaning precedes truth—and not the other way around as in most of contemporary philosophy of language. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between historical (...) research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Political Representation: A Historical and Conceptual investigation into Its Polysemy The aim of this study is to value the complexity of theoretical formulations that different traditions and authors have provided on the problem of political representation. This is achieved by relying on a text that has pioneered this kind of investigation: Hasso Hofmann s Repräsentation: Studien zur Wort- und Begriffsgeschichte von der Antike bis ins 19. Jahrhundert. Hofmann s book, originally published in German in 1974, has not (...) received due attention in the contemporary debate on representation and is scarcely known in the non-German academic environment. However, its unique methodological and conceptual outlook on representation has much to contribute to the current debate on this topic. Hofmann s main objective is to draw a history and theory of representation that values the polysemy of the Latin word repraesentatio from Antiquity until the 19th century. To achieve this goal, Hofmann analyses the diverse meanings that have been attached to the word representation throughout its history, from its inception in the Latin world onwards. To prove the relevance of this approach for the contemporary debate, I apply Hofmann s semantic-conceptual map of representation to the study of political representation in such diverse authors as Marsilius of Padua, Carl Schmitt, Thomas Hobbes, Ernst Kantorowicz as well as contemporary authors such as Bernard Manin, Nadia Urbinati, Frank Ankersmit, John Dryzek and others. In so doing, I show that the answer to the question: what makes representation a political notion? is far from univocal. Moreover, I argue that Hofmann s interpretive lens provides an alternative approach to what is still considered the classical study of political representation in the Anglophone world: Hanna Pitkin s The Concept of Representation. By critically comparing Pitkin and Hofmann s approaches to the problem of political representation, my aim is to demonstrate that Pitkin s normative perspective should be revised. Pitkin argues, first, that it is possible to pinpoint a general meaning of the concept of representation as making present again and, second, that there is a general concept of political representation that is identified with substantive acting for and in which all aesthetic meanings of representation are excluded. In contrast to this approach, Hofmann stresses the polysemyc character of representation, and the impossibility of narrowing down a general meaning of the concept. Drawing on Hofmann, one can argue that the semantic richness of political representation is just as broad as that of the word representation itself and that what makes representation political varies from epoch to epoch, from author to author. As a result, the common way to look at political representation nowadays, i.e. as democratic representation, is far from the only one but constitutes, rather, just one of the numerous ways to look at this concept over time. Using Hofmann s perspective for the study of political representation also helps us show that the aesthetic meanings of representation are always and intrinsically bound up with political representation in all the authors who have theorized this concept. In contrast to Pitkin, one could argue that any meaningful concept of political representation must also include the aesthetic and symbolic meanings of representation. Accordingly, it is impossible to think of political representation without accounting for its symbolic dimension as Darstellung. (shrink)

One characteristic of the transition from the Middle Paleolithic to the Upper Paleolithic in Europe was the emergence of representational charcoal drawings and engravings by Aurignacian and Gravettian artists. European Neanderthals never engaged in representational drawing during the Middle and Early Upper Paleolithic, a property that might reflect less developed visuomotor coordination. This article postulates a causal relationship between an evolved ability of anatomically modern humans to throw spears accurately while hunting and their ability to draw representational images from working (...) memory. Unlike Neanderthals, archaic and anatomically modern humans in sub-Saharan Africa adopted longer-range hunting practices using hand-cast spears as a compensation for the emergence of increasingly wary game. For Neanderthals, paleoclimatic fluctuations likely precluded consistent hunting of cold-adapted game, a property making game more approachable for close-range hunting with thrusting spears. As evidence of less historical wariness of humans, many of the species hunted by Neanderthals were eventually domesticated. Due to strong sources of natural selection on archaic and anatomically modern humans for effective hunting, the parietal cortex that integrates visual imagery and motor coordination expanded progressively, yielding the globular shape of the human cranium that is not evident in Neanderthals. To characterize how the cognitive properties employed for throwing spears and drawing line work are similar, the Upper Paleolithic drawings of animals in Chauvet cave, France, are discussed in the speculative context of how these artists engaged simultaneously in overt attention to guide their hand movements and covert attention to their mental images during the drawing process. (shrink)

William Whewell (1794–1866), polymathic Victorian scientist, philosopher, historian, and educator, was one of the great neologists of the nineteenth century. Although Whewell's name is little remembered today except by professional historians and philosophers of science, researchers in many scientific fields work each day in a world that Whewell named. "Miocene" and "Pliocene," "uniformitarian" and "catastrophist," "anode" and "cathode," even the word "scientist" itself—all of these were Whewell coinages. Whewell is particularly important to students of the historical sciences for another (...) word he coined, one that was unfortunately not as successful as many of his others because it is difficult to pronounce. This word, "palaetiology," was the name Whewell gave to the class of sciences that are concerned with historical causation: the class we might today refer to as historical sciences. Although the disciplines Whewell included under the heading of palaetiology might seem to cut across conventional academic boundaries of his day and ours—his exemplary palaetiological sciences were geology and comparative philology—all these fields may be examined together, Whewell argued, because of their common interest in reconstructing the past. ¶ This paper is an essay in the palaetiological sciences, dedicated to Whewell on the bicentennial of his birth, an essay that examines some of the principles, maxims, and rules of procedure that these sciences have all in common. Its first purpose is to demonstrate the continuing validity of Whewell's classification of these sciences through a study of historical representation in three different palaetiological fields: systematics, historical linguistics, and textual transmission. Its second purpose is to continue the development of an extended analogy between historical representation and cartographic representation that I began in an earlier paper (O'Hara, 1993, Systematic Biology), an analogy that makes especially clear the common representational practices that are found throughout palaetiology. (shrink)

ABSTRACTIn common usage, historical distance refers to a position of detached observation made possible by the passage of time. Understood in these terms, distance has long been regarded as essential to modern historical practice, but this conception narrows the idea of distance and burdens it with a regulatory purpose. I argue that distance needs to be re‐conceived in terms of the wider set of engagements that mediate our relations to the past, as well as the full spectrum of (...) distance‐positions from near to far. Re‐imagined in these terms, distance sheds its prescriptiveness and becomes a valuable heuristic for examining the history of historical representation. When distance is studied in relation to the range of mediations entailed in historical representation, it becomes evident that the plasticities of distance/proximity are by no means limited to gradients of time; rather, temporality is bound up with other distances that come from our need to engage with the historical past as a realm of making, of feeling, of doing, and of understanding. Thus for every historical work, we need to consider at least four basic dimensions of representation as they relate to the problem of mediating distance: 1. the genres, media, and vocabularies that shape the history's formal structures of representation; 2. the affective claims made by the historical account, including the emotional experiences it promises or withholds; 3. the work's implications for action, whether of a political or moral nature; and 4. the modes of understanding on which the history's intelligibility depends. These overlapping, but distinctive, distances—formal, affective, ideological, and conceptual—provide an analytic framework for examining changing modes of historical representation. (shrink)

Nel 1956, in piena guerra fredda, una conferenza di scienziati al Dartmouth College negli Stati Uniti annunciò il lancio di un audace progetto scientifico, l’Intelligenza Artificiale (I.A.). Dopo l’iniziale fallimento degli sforzi della “Hard AI” di produrre un’intelligenza simile a quella umana, alla fine del XX secolo è emerso il movimento della “Soft AI”. Invece di essere orientato a imitare il comportamento umano in relazione a compiti specifici, ha preferito cercare modi alternativi di eseguire i compiti basati sulle particolari funzioni (...) e strutture della macchina. Il fattore decisivo è stata la combinazione della tecnologia di apprendimento automatico con le comunicazioni digitali online, l’incontro tra l’IA e Internet. Le applicazioni dell’IA “soft” sono quelle che vediamo nel mondo dei dispositivi automatici “intelligenti” che informano la nostra vita sociale digitale. Nel seguente articolo mi concentrerò su una particolare applicazione dell’IA per le discussioni online con utenti umani, ChatGPT, per mostrare le implicazioni della tecnologia digitale online nelle modalità storico-sociali dell’esistenza umana. ChatGPT è un’applicazione che combina l’IA con Internet, le possibilità della corrispondenza tra macchine e le potenzialità della tele-comunicazione umana. Il mio approccio si concentra sulle implicazioni fenomenologiche e storico-sociali della proliferazione della tecnologia AI per quanto riguarda la coscienza e la socialità umana. -/- Abstract (english) -/- In 1956, amidst the Cold War, a conference of scientists at Dartmouth College in the United States announced the launch of a bold, scientific project, Artificial Intelligence (A.I.). After the initial failure of “Hard AI” efforts to produce a human-like intelligence, the “Soft AI” movement emerged in the late 20th century. Instead of being oriented towards imitating human behaviour concerning specific tasks, it preferred to seek alternative ways of performing tasks based on the particular functions and structures of the machine. The decisive factor was the combination of Machine Learning technology with Digital Online Communications, the meeting between AI and the Internet. The applications of “Soft” AI are those we see in the world of “smart”, “intelligent” automatic devices that inform our digital social life. In the following article, I will focus on a particular application of AI for online discussions with human users, ChatGPT, in order to show the implications of online digital technology in the social-historical modalities of human existence. ChatGPT is an application that combines AI with the Internet, the possibilities of Machine correspondence with the potentialities of human telecommunications. My approach focuses on the phenomenological and social-historical implications of the proliferation of AI technology as regards human consciousness and sociality. (shrink)

This essay focuses on the historical text as a whole. It does so by conceiving of the historical text as representation - in the way the we may say of a photo or a painting that it represents the person depicted on it. It is argued that representation cannot be properly understood by modelling it on true description. So all the central questions asked since the days of Frege with regard to how the true statement relates (...) to the world must be asked anew, if we wish to understand how a historical representation relates to what it is about. Three claims are made. In the first place, representation is not a two-place but a three-place operator: apart from a representation (say, a book on Napoleon) and what the representation represents (Napoleon himself), a representation also indicates an aspect of represented reality (an aspect of Napoleon). The second claim is that this notion of the aspect is crucial for a proper understanding of (historical) representation. Thirdly, it is argued that traditional theories of reference cannot account for the relationship between a representation and the aspect indicated by it. (shrink)

Some experiments from the history of physics became so famous that they not only made it into the textbook canon but were transformed into lecture demonstration performances and student laboratory activities in the nineteenth and twentieth centuries. While, at first glance, some of these demonstrations as well as the related instruments do resemble their historical ancestors, a closer examination reveals significant differences both in the instruments themselves and in the practices and meanings associated with them. In this paper, I (...) analyse the relation between the research instruments and the respective teaching demonstrations. In doing so, I particularly distinguish between demonstrations that address the process of the actual experimental procedures, and those that focus on the outcome or results (the product) of the experiment. This distinction will be illustrated in some exemplary case studies from the late nineteenth century and the early twentieth in which both the historical experiment and the related educational devices are analysed. The tension between the historical experiment on the one hand, and the different variants of the teaching version on the other, result in the educational as well as epistemological problems that are discussed in this paper. (shrink)

The representation of reality is a fundamental concept in the perception of theworld. Its historical consideration leads to an understanding of historical andcontemporary culture. In this paper we specifically investigate theanthropometric stage of cultural development as a historical world view. Wedefine this stage on the basis of René Girard's hypotheses on the origin ofculture, and we isolate its principles. Next, we consider the function of art asthe representation of cultural values. We investigate the three major (...) motivesof artistic representation in the anthropometric stage, i.e. beauty, dramatizationand mimesis. We show how and why these motives play an essential partin the obfuscation and explanation of the origin of culture. Finally, we showhow these developments are dealt with in the aesthetics of Plato and Aristotle. (shrink)

This paper is an essay-length review article on David Carr's book Experience and History (Oxford University Press, 2014).

Memory is not a unitary phenomenon. Even among the group of long-term individual memory representations (known in the literature as declarative memory) there seems to be a distinction between two kinds of memory: memory of personally experienced events (episodic memory) and memory of facts or knowledge about the world (semantic memory). Although this distinction seems very intuitive, it is not so clear in which characteristic or set of interrelated characteristics lies the difference. In this article, I present the different criteria (...) proposed in the philosophical and scientific literature in order to account for this distinction: (1) the vehicle of representation; (2) the grammar of the verb “to remember”; (3) the cause of the memory; (4) the memory content; and (5) the phenomenology of memory representations. Whereas some criteria seem more plausible than others, I show that all of them are problematic and none of them really fulfill their aim. I then briefly outline a different criterion, the affective criterion, which seems a promising line of research to try to understand the grounds of this distinction. (shrink)