The scientific positivism of Michael Oakeshott

Seventeenth-century philosopher Margaret Cavendish wrote not only several philosophical treatises, but also many fictional works. I argue for taking the latter as serious objects of study for historians of philosophy, and sketch a method for doing so. Cavendish's fiction is full of conflicting viewpoints, and many authors have argued that this demonstrates that she did not intend her literary works to serve serious philosophical purpose. But if we consider philosophers more central to the canon, such as Plato or Kierkegaard, who sometimes used literary forms to do serious philosophy, we see that these arguments are unfounded. Like those philosophers, Cavendish had several philosophical motivations for pursuing value-theoretic issues through the flexible formats of literary genres. This suggests that Cavendish's literary corpus may be fruitful and largely unexplored ground for the history of philosophy.     

“TANCRED’S WOUND”:

A recent debate over trauma theory in Holocaust studies has implications for writing by the “generation after.” This article looks at Anne Karpf’s The War After (1996) and the 1998 movie Left Luggage (based on a novel by Carl Friedman), as well as David Grossman’s See Under: Love (1985), as examples of how traumatic knowledge is accessed through literary narratives and the imagination, rather than the historical events. In particular, the trope of “autism” serves to symbolize the difficulty of communicating repressed traumatic memory, while images of containment symbolize the unspeakable contents of the psychic envelope.     

Historiographic narratives and empirical evidence: a case study

Several scholars observed that narratives about the human past are evaluated comparatively. Few attempts have been made, however, to explore how such evaluations are actually done. Here I look at a lengthy “contest” among several historiographic narratives, all constructed to make sense of another one—the biblical story of the conquest of Canaan. I conclude that the preference of such narratives can be construed as a rational choice. In particular, an easily comprehensible and emotionally evocative narrative will give way to a complex and mundane one, when the latter provides a more coherent account of the consensually accepted body of evidence. This points to a fundamental difference between historiographic narratives and fiction, contrary to some influential opinions in the philosophy of historiography. Such historiographic narratives have similarities with hypotheses and narrative explanations in natural science.

     

COMMENTARY ON ELIZABETH COREY'S INTERPRETATION OF MICHAEL OAKESHOTT

Elizabeth Corey suggests that in order to understand Michael Oakeshott's worldview one should pay special attention to two subjects, religion and aesthetics, and analyze the connection between these two realms and the idea of practical life in general and of politics in particular. Her book provides a sympathetic but also critical conversation with Oakeshott's ideas, ultimately offering us a coherent picture of the place of the religious, poetical, and political in the totality of his thought. Corey persuasively shows that the major ideas of the mature Oakeshott originated in his earlier religious convictions and that his philosophy of aesthetics, contrary to what his critics claimed, fit nicely in the general framework of his thought.