On History and Comprehension: The Discourses and Approaches of the Intellectual, Institutional, and Public | Georgia Smith

By Georgia Smith

History is perhaps the most communicative of discourses. A diverse collection of popular and intellectual mediations, stories, myths and images produced as collective and individual bodies moving towards social comprehension. As such, these disparate social, political and cultural bodies communicate conflicting yet interrelated conceptions of history and reality, formulated in narratives perpetually vying for ascendency and resulting primarily in a striking cocktail of reality, fantasy and fiction. Discussions of the philosophy and theory of history allow for the exploration of the character of various discourses advanced by intellectual theories, institutional narratives, and myths, as well as their consumption and reconfiguration by the public. Such an analysis is reliant on a narrative theory of history, one which, rooted in the debate over history’s fundamental character as a science or an art, emphasises the fundamental subjectivity and literary nature of history not as the seat of rationality but a mutable discourse reliant on complex human subjects. This being a mode of thought inherently divorced from original nineteenth-century philosophies of history as immutable, objective.

History as an academic discipline represents only one mode of historical thought. While dependent on strict, yet diverse, rational source-based methodologies, theories of history such as historical materialism, to name one of the most obvious, may also be read as symbolic of a deterministic or teleological approach, hence prone to a fundamental essentialism. The danger inherent within much post-modern historiography is this continued susceptibility of essentialism – it remains that the intellectual is a human actor, a mediator bestowed with the powers of framing, who perhaps unconsciously desires comprehensibility. As Hayden White suggests, there is an “irreducible and inexpungable element of interpretation” within historiography. The overuse of structuralism as a method of historical causality is further evidence of this, a factor which becomes particularly seductive in relation to the analysis of the function of institutions, especially within a political climate which prioritises blame. The tendency for the complex within intellectual theories, both on the level of micro and macro history, highlights the necessity of distillation which serves as the basis of the relation between intellectual, institutional and public theories and is consequently where conflict arises. In ensuring the viability of communication, theories must mutate. Questioning the significance of academic histories may be a clichéd practice; however, such suspicions are perhaps better reformulated into questions of the immediate practicality of intellectual practice. The perception of a fundamental separation between the spheres of the intellectual, institutional and public is a fiction. Intellectual modes of thought seep into and become suffused with both the public and the institutional, forming the inherited language and conceptual framework in which we conduct ourselves, albeit on the scale of the informal and intimate and conveyed most often viva voce.

Drawing on the intellectual, institutional histories

are marked by the demands of the political. Taking Jenkins’ thesis of history as a locating and legitimating exercise, the principal function of state histories is the formulation of myth. In this, the exploration of an area that exists in between the strict binaries of “The past” and “history”, areas of fantasy in which the past is both factual and fictitious, may arise. It is in this area of fantasy that legitimacy is located. The notion of hegemony which dominates the crucial subtext of imperial histories is perhaps the most evocative of this. Much contemporary scholarship explores this notion of institutional amnesia which accompanies the denial of ethical issues relating to Britain’s colonial past. The theory of post-colonial history offers an ideal paradigm through which to explore the relation between the intellectual, institutional and public. The developments in postcolonial historiography offer a natural juxtaposition to standard paternalistic narratives of British colonialism, dependent on a fantasy of the colonial state as civilising and dynamic. In turn, agitations between these narratives lead to a natural expansion of public consciousness, evidenced in the emerging awareness of our political and cultural proximity to the products of colonialism.

To flirt with an apparently absurd theory of public history as contingent on the self allows for further consideration of the notion of history as fantasy. The interpretation of history by public, private and individual bodies is a highly selective practice. A mode of socialisation and cultural hegemony reliant on stereotypes dictates our responses to narratives, an inherited language and conceptual repertoire, only curtailed further by the demands of the self. Dicing between reality and the unreal, public philosophies are philosophies in a dual sense in that they symbolise the degree and character of public consciousness and in the fact that they offer an image or guide to which individuals can respond or react, moulding themselves in accordance with the images they reflect. Masculinist reactions offer an intimate image of public history as dictated by abstracted selves. Jablonka offers a somewhat essentialised, albeit deeply symbolic analysis of the potential for abstract masculinity as a form of historical causality. Jablonka cites the devaluation of the father-husband as a causal factor relating to the introduction of France’s 1804 Civil Code and the cultural salience of dandyism as a factor invigorating the rise of an early-twentieth-century militarist culture in central Europe, to name two of several examples. It is the potential for causality embodied in these abstract factors which illustrates the need to transgress the original bounds of the philosophy of history, the consumption of and retaliations to its narratives and images are as tentative as the abstract, the emotional and the imagined.

Lawrence Stone’s mediation on the character of this supposed “new history”, one which observes the twentieth-century shift to alternate objects and subjects of historiography, symbolises the function of history in the present, beyond simply the narrative form it takes. His perception of such history is one of post-impressionist art in which narratives “create a stunning picture of reality, but which examined close up, dissolve into a meaningless blur.” In interrogating the notion of narrative beyond Eric Hobsbawm’s insistence of its function as a method of presentation, we can thus explore the intersections between fantasy, reality and realism. Consequently, noting a secondary instance of communication and conflict, not only do we dispute narratives across social bodies, but we dispute their relation to our personal selves and realities, asking them to become symbolic of something they often are not. Do we simply reject the contentious elements of certain histories to ensure perceptions of our ethical character, only furthering a fantasy based on morality? Well-done histories pose the largest threat to narrative satisfaction. Such perpetual revulsions characterise the conflicting relation between intellectual, institutional and public historical narratives.

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