The importance of the volume Edmund Husserl’s Cartesian Meditations. Commentary, Interpretation, Discussions can be found in its aim: providing a study of the Cartesian Meditations (henceforth CM) in its entirety. Against the tendency to reduce the CM to some of its parts – mostly intersubjectivity or transcendental idealism –, this Commentary attempts to offer a unified view of the text. As the editor De Santis in the Introduction recognizes, CM are not only »Husserl’s second attempt at systematizing his philosophy after the so-called »turn« to a transcendental form of thought« (p. 9) but are also the key to understanding Husserl’s late phenomenology. The editor states that the motivation of this book can be found in the necessity to seriously deal with the text in which Husserl highlights the importance of the »concrete ego«, which provides also a teleological-practical ontology. Regarding the goal of this book, it is important to notice that the three parts Commentary, Interpretation, and Discussion are bounded by each other’s, and it is possible to find some frameworks strictly related to the Commentary and also to the other sections. The development of the Commentary is completed and expanded in the following sections, Interpretation and Discussion, but these parts are not secondary to the others.
The volume is divided into three sections, as the title states. The first part, Commentary (§1-6) provides detailed analyses that stick to Husserl’s publication of the text. The latter two, Interpretation (§7-14) and Discussion (§15-20), intertwine both the commentary and the interpretation. The editor De Santis claims (p.16) that the first part can be regarded as a commentary only if we accept »commentary« in a broad sense. Starting from the CM, the authors develop reflections that go deeper than a simple reconstruction of Husserl’s passages. As is well known, one of the main problems of CM’s reception is the tendency to overlook most of the content of the text (p.12). While in Interpretation the authors emphasize how some philosophers have been dealing with CM, in Discussion the authors spotlight some core problems of Husserl’s CM and reflect on them with other frameworks of phenomenology. For this reason, Interpretation and Discussion both aim to compare CM with Husserl’s phenomenology and with Scholars’ reception of this text, as well as to investigate some of the themes of CM that are central to all Husserl’s phenomenology.
The goal of understanding CM as a whole can be found also in the internal links that can be found. Regarding this, it’s important to notice Daniele De Santis’ §4 on Fourth Meditation with Witold Płotka’s §8, Aurélien Djian’s commentary on Second Meditation with §9 written by Ignacio Quepons and §15 by Emanuela Carta and §5-6 on Fifth Meditation made by Sara Heinämaa (§5) and Alice Pugliese (§6) with Stefano Bancalari’s work on Levinas (§10) and Saulius Geniusas’ contribute on Paul Ricoeur. This allows both a mutual confrontation and a thematic deepening – although internal references are not always present in the text. But it is also possible to further interweave internal references and compare e.g. Landgrebe and Husserl on the account of the idea of Erste Philosophie – these topics are respectively discussed in §9 concerning Landgrebe’s remarks on CM and in §19 §20, specially here on Husserl’s »first« and » universal« and »second« and »last« philosophy. Thanks to the in-depth sections, it is therefore possible to compare the theoretical outcomes of the MC’s with Husserl’s latest phenomenology – e.g Andreea Smaranda Aldea in §17 claims that »Husserl’s emphatic call for a higher-order critique in the Cartesian Meditations as anticipating his Crisis call for radical self-reflection« (p. 453) and Alice Pugliese who compares the Fifth Meditation also with Husserl’s Grenzprobleme der Phänomenologie.
It is important to note that Interpretation and Discussion are not appendixes of the Commentary. Alongside a reading accompaniment, the authors shed light on issues that are often overlooked. For this reason, it seems to me that rather than exhausting the research, the importance of this volume is to be a forerunner for even more in-depth studies of MC. For example, Witold Płotka in §8 goes far beyond just a simple reconstruction of Roman Ingarden’s remarks on CM. Namely, even if these remarks »are an historical document of phenomenological movement« (p. 216), the author stresses the importance of Ingarden’s work also in respect to the Fourth Meditation and to some unjustified presuppositions. In this respect, also Danilo Manca researches in §7 the Hegelian motifs of MC which Fink highlights. Specifically, Manca focuses on the »transition from the natural to the transcendental attitude« (p.193), on the Gespaltung of the Ego after performing epochē and the thematization of unconscious dimension of constituting life which that phenomenological method makes possible. Based on Fink’s reflections and stressing Hegel’s use of »Aufheben« (p. 197), the author shows the continuity between the natural and transcendental attitude. Regarding MC, the author deals with Fink’s remarks on §32 – in which the ego in is understood as a »substrate of habitualities« and with the dialectic between the two I, the natural and the transcendental one. In a passage of Fourth Meditation, Husserl claims that his CM are for the »nascent philosopher the genuine introduction into a philosophy«. The same thing does not completely fit with Edmund Husserl’s Cartesian Meditations. Commentary, Interpretation, Discussions. In some parts the content discussed by the authors presupposes a good knowledge of Husserl’s philosophy – not just of MC – and for a non-specialist reader it might be difficult. Especially §14 Meditations on Purity: Edmund Husserl and Hans Kelsen wrote by Federico Lijoi and §18 Lavigne’s Objection to Phenomenologica Idealism: Critical Remarks with the Help of the Cartesian Meditations by Agustín Serrano de Haro are only fully clear to readers that already are familiar with the phenomenological milieu and, in the second case, with Logic Investigation. For this reason, the »broad sense« of the Commentary includes discussions of problems that are not limited to the text commented on here and investigate some core problems of Husserl’s phenomenology. Nevertheless, these chapters are certainly an opportunity to explore these issues.
Certainly, the Commentary’s part offers a detailed discussion. Claudio Majolino in the first part of Commentary (§1) clarifies the meaning of »Cartesian« and »Meditations« and he researches for the Motive – both in its German meanings (p. 27) – why Husserl took Descartes as a reference. This part is longer than the other and it deals both with Husserl’ Introduction and Fist Meditation. Since the earliest reviews many criticisms emerged against Husserl’s approach towards the figure of Descartes (p. 14-6), investigating this point is a good key to start. Claudio Majolino works on Husserl’s so-called Cartesianism and understands it in terms of »repetition and variation« (.p 22). Using some insights from Hua VII / VIII and Husserliana Materialen IX Claudio Majolino stresses the threefold meaning of Descartes’ Meditation recognized by Husserl: the eternal meaning, the importance of CM for the present and finally the meaning of Descartes’ Meditations for the present. The author approaches this problem by pointing out the way Husserl had already discussed Descartes (Socrates and Plato) in his previous Lectures. Regarding this point Claudio Majolino claims that “[Descartes] embedded the skepsis within the innermost core of genuine and radical philosophy itself” (p. 35). If on the one hand, Descartes took some arguments from Skepticism, on the other, on several occasions he points out the differences between his doubt and skepticism. The boundness between the grounded knowledge and responsibility, well discussed in §1, from another point of view, is also investigated by Leonard Ip (§20) using the distinction between »Second« and »Last« Philosophy in Husserl. The reference to Descartes allows Husserl to link knowledge to responsibility, but it also poses some problems: first and foremost, that of the route into phenomenology. In §16 Rosemary Jane Rizo and Patron de Lerner points that out and discusses Husserl’s Cartesian way to reduction. Starting from a discussion of Begründung and Fundierung (p. 405-10) two terms used by Husserl to describe the foundational problem, the A. than discusses the main theme regarding CM. It is important to notice that Rosemary Jane Rizo and Patron de Lerner highlight two antithetical demands in Husserl’s thoughts about science: the interest in a mathematical theoretical foundation and the interest in transcendental subjectivity, which is connected to the Lebenswelt and gives it a foundation. The focus on the Husserl-Descartes link finds another insight in §17. Here, Sergio Pérez-Gatica in his The Distinction between »First« and »Universal« Philosophy in Husserl’s Cartesian Meditations: On a Basic Precondition for the Trasformation of Philosophy into a Rigorous Science points out that while »philosophy« means »universal philosophy« – in terms of Platonic and Cartesian idea of universal science –, Husserl uses »first philosophy« in a technical way to stress the basic method for a rigorous philosophical knowledge. Considering the lack of rigor in philosophy at his time, Husserl uses the Cartesian path to draft the real goal for its phenomenology: providing a fundamental epistemology. (p. 483). In conclusion Sergio Pérez-Gatica highlights the connection between logical and ontological requirements in Husserl’s philosophy and the reflections contained in MC on the idea of rigorous grounding philosophy. Regarding Cartesian way, another insight comes from §9. Here Ignacio Quepons points out that Landgrebe stresses the same problem of the Cartesian way to reduction declared by Husserl itself in Crisis. It’s also important to observe that even if Husserl criticizes the Cartesian way, nevertheless, the other ways do not reject the first one, but complete it by revealing other possibilities (p. 239-40). Another attempt to focus also on Husserl’s so-called Cartesianism can be found in §13 Jan Patočka on Descartes and Husserl’s Cartesianism wrote by Hynek Janoušek and Wojciech Starzyński. The authors discuss Patočka on epochē and reduction from Husserl. While »Patočka accepts Husserl’s method of epochē as a major breakthrough in modern philosophy […], he rejects Husserl’s idea of reduction as leading to the unwarranted subjunctivization of the phenomenal field of appearances« (p. 344). This chapter seems to me to be successful because it relates Patočka with Descartes and Husserl.
Following the Commentary, in §2 Aurélien Djian points out how Husserl repeats and varies – using Caludio Majolino’s words – Descartes to introduce its own transcendental phenomenology. The author stresses specifically the horizon, synthesis, and intentionality notions. Aurélien Djian shows that transcendental subjectivity should not be conflated with the psychological ego because it only can be grasped through epochē (p. 68). The conclusion of §2 discusses a passage of MC §9 and it has a very specific purpose: showing the problems related to Husserl’s »ranking the horizon among the universal principles of phenomenology« (p. 88) and the need for apodicticity of the ego. In §3 Lilian Alweiss asks: how is it possible to do Ontology after Kant? To answer this question the author considers »two different ways of referring to non-being« picked up by phenomenological descriptions: one linked to »possibilities which have not yet been fulfilled, the other to possibilities which have been dashed« (p. 96). Then Lilian Alweiss traces a connection between Husserl and Kant regarding the answer to Hume’s circle. This passage is fundamental to understand why this chapter states that Husserl traces the limits of being from within, with the notion of evidence and through imagination. De Santis’ §4 investigates the role of transcendental idealism in MC, the only place where it has an »exoteric systematic presentation of this doctrine« (p. 115 mod). This comment connects the focus on Husserl’s idioms to the philosophical content in them. Namely, the author points out Husserl’s use of Unsinn, not just in MC but also in Ideas I, and compares it to the occurrences of Wiedersinn. The goal of this chapter is to show that each sense is grasped with respect to transcendental subjectivity, which must be regarded as a monad. De Santis claims also that the monad is »subjectivity constituted by the correlation between the surrounding world (or the world as it appears to me) and the »personal character« (p. 117). Since Husserl’s fifth meditation is longer than the others, the Commentary is divided into two sections: §5 written by Sara Heinämaa and §6 by Alice Pugliese. The first one deals with MC § §42-54, the second one with §55-64. Sara Heinämaa starts considering that »some forms of critique are thematic and reject Husserl’s descriptions of our experiences of other persons or other human beings, while other lines of critique are methodological and question the adequacy of the conceptual tools used in the analysis« (p.141). Then the author points out the role of these chapters within MC as a whole. As Sara Heinämaa states, »with the supposed failure of Fifth Meditation then, with the failure of its account of the constitution of the sense of another self, much, if not all, of Husserl’s phenomenological project would collapse« (p. 143). The main topic of this contribution is to explain the concepts of verification, analogical apperception, and empathy. This chapter faces the transfer of »sense problem« and stresses Husserl’s strategy already adopted in his previous texts. Namely, Husserl uses scientific and philosophic standard terms without their standard meaning – e.g Husserl’s »empathy« is different from Stein’s or Scheler’s use of the same word (p. 157). Alice Pugliese addresses the last part of MC »using one of the most consistent and ancient questions of metaphysics as a hermeneutical key: the dialectic of unity and multiplicity« (p. 171). More in detail, the author claims that the unity-multiplicity problem leads the empathy problem. This strategy completely fits MC, especially considering that »the monad is a unity that includes multiplicity« (p. 178). This reading is further confirmed if we consider »the core of the egological and monadic intuition« which stands for unity and the »the daily work of science and knowledge« as multiplicity (p. 186). The problems of Fifth CM discussed in the Commentary are taken again by Stefano Bancalari, who in §10 discuss The influence of the Cartesian Meditations on the thought of Emmanuel Levinas. If on the one hand, the 5th MC provided Levinas the intersubjective problem, central for his work, on the other, it determined the rupture with Husserl’s phenomenology (p. 260). Considering Levinas’ thought nearly in its entirety, Stefano Bancalari points out how Levinas used his »intersubjective reduction« to overcome the problems related to Husserl’s Cartesian way to reduction. Regarding the aim of this book this contribution is important because it thematizes Others’ constitution problem. Stefano Bancalari also shows why the lack of the Others’ gaze in the analogical apperception for Levinas is a problem (p. 271). Another perspective on the intersubjectivity problem comes from Jakub Čapek, who discusses Merleau-Ponty’s lecture of CM in §11. The author shows how from an initial critique to the ego Merleau-Ponty then uses Husserl’s analysis, and in particular the idea of appresentation, »to face the objection that his theory makes individual perspectives vanish into a monism of a supra-individual corporeity« (283). As Jakub Čapek recognizes, Merleau-Ponty goes further and in the end of Phenomenology of perception claims the return to the ego – albeit transformed. The author states that for Merleau-Ponty the main problem of Husserl’s account of intersubjectivity is the transposition from the I to the Other because it is based on the immediate self-knowledge. On the contrary, for Merleau-Ponty our self-knowledge is »a practical task yet to be accomplished« (284). Although in §11there is no reference to Merleau-Ponty’s receipt of Ideas II, this contribution further enriches some of the problems seen in the previous chapters. In §12 Saulius Geniusas in his Paul Ricoeur’s Husserlian Heresies: The Case of the Cartesian Meditations points out that MC are the core not only of Ricœur’s reading of Husserl, but also for his philosophy itself. The author approaches the topic using three questions: how Cartesian are Husserl’s MC? How descriptive is Husserl’s descriptive phenomenology? How egological is Husserl’s egology? Saulius Geniusas claims that »Husserl secularizes Descartes and interprets the Cartesian cogito as the transcendental subject, conceived of as the ultimate origin of all meaning« (p. 305). Additionally, if on the one hand, the author bounds both Descartes and Husserl on the problem, on the other he stresses that Husserl’s radicalization of Descartes does not address God. Regarding the second question, Saulius Geniusas stresses that »for Ricoeur, Husserl’s phenomenology is not sufficiently descriptive because it does not constrain its own descriptions from gliding into transcendental idealism» (315). It is important to notice that this chapter bounds itself both with Daniele De Santis’ §4 and Stefano Bancalari’s §10. Regarding the problem of evidence, Emanuela Carta in §15 reconstructs scholars’ discussion of Husserl’s evidence understood as Theory of justification (Standard View) and proposes a new interpretation of the theme where evidence justifies belief. Fallibilist Thesis claims »What is evidently given to one can be false« and it is related with The Corollary Thesis: »It is possible for one to have justification to believe a false proposition« (379). After criticizing the metaphysical realism of scholars, the author discusses Husserl’s notion of »idealism«. Here a footnote on De Santis’ work in this text could have been useful. Finally, Emanuela Carta provides an alternative to the Standard view, claiming the correlation between absolute truth- adequate evidence and relative truth-inadequate evidence (p 393). Thanks to that it is possible to reject both Fallibilist Thesis and The Corollary Thesis and to argue that evidence justifies belief because it shows what is true, even if in an open and perfectible way. A Discussion that shows the unity of the late Husserl’s thought is that of Andreea Smaranda Aldea, Self-Othering, Self-Transformation, and Theoretical Freedom: Self-Variation and Husserl’s Phenomenology as Radical Immanent Critique. Specifically on this topic the author links the self-critique of the self-variation with Crisis’ zig-zag method. Namely, self-variation clarifies both the goal of inquiries and itself. For this reason, if we consider the Besinnung as a Rückfrage, it is possible to regard self-variation »as methodological tool central to phenomenology as a whole« (p. 453). In his conclusion, following the sense of Besinnung, Andreea Smaranda Aldea claims that self-variation is not just a simple method related to self-constitution, but »a central method at the core of phenomenology itself functions as a necessary condition for the possibility of this radical self-critique« (455).
Before concluding this review, I would like to focus on another goal of the volume: if on the one hand the volume presents itself as a unique volume, on the other the richness of the contributions also allows a specific selection of some parts of it. This means that Edmund Husserl’s Cartesian Meditation. Commentary, Interpretation, Discussions is not only aimed at specialists of Husserl, but also at all those who, across the board, have to deal with MC. In sum, this volume marks a notable achievement. The broad sense of the Commentary completely full fits the goal of the editor. Additionally, it should not be read merely as commentary. Edmund Husserl’s Cartesian Meditation. Commentary, Interpretation, Discussions is a collection of contributions which gives a rich and broad view of the Cartesian Meditations as a whole. All the various parts move in different, often intertwined, directions and show the richness of Husserl’s work. The volume’s conspicuous number of pages proves how urgently an entire study dedicated to MCs was needed.
 Edmund Husserl, Cartesian meditations (translated by D. Cairns), p. 88.
 See René Descartes, Œuvres Complètes, vol. 12 (Vrin, 1996). Specially AT VI 29, AT X 512 and AT III 434.
Dr. Corijn van Mazijk is an assistant professor at the Rijksuniversiteit Groningen, the Netherlands, who specializes in Kant and post-Kantian philosophy, particularly phenomenology. De Wereld als Verschijning: Fenomenologie en de Twintigste Eeuw (The World as Appearance: Phenomenology and the Twentieth Century, all translations from the Dutch are my own) is his second book, following a monograph on the nature of reality, perception and the relation between the two, in the work of Kant, Husserl and McDowell.
De Wereld als Verschijning is a step back from the highly specialized research conducted in the earlier publication. Van Mazijk sets out to provide an introduction into phenomenology that is “as easily accessible as possible” (32). And that is exactly what he delivers. The book comprises five chapters and each chapter treats one of the four most influential phenomenologists of the 20th century; Husserl, Heidegger, Sartre and Merleau-Ponty, respectively. The final chapter discusses six lesser known phenomenologists, including Edith Stein and Emmanuel Levinas.
Each chapter follows an identical structure. It opens with a short column detailing the main themes of this particular philosopher’s thought, as well as his or her influence on the development of the phenomenological tradition. This is followed by a few pages of biographical information, detailing the life of the thinker and the cultural-intellectual climate of the time, and how this influenced the work he or she went on to produce. With this setting-the-stage out of the way, the main part of each chapter is dedicated to a discussion of the philosophical substance itself. Van Mazijk emphasizes that although the book is intended to introduce phenomenology, the subject matter by itself is by no means simple, and so the main objective is to expound the ideas as clearly as possible, where needed aided by illustrations. The chapters then conclude with an overview of the main ideas of each thinker, complemented by a short list of important concepts and their definitions.
The work of each thinker is discussed in largely chronological order. For example, the first chapter, on Husserl, starts out with a discussion of the Logische Untersuchungen (1901) and ends with Die Krisis der Europäischen Wissenschaften und die Transcendentale Phänomenologie (1936). Of the five, this chapter is the longest. This is not surprising, considering the amount of work Husserl produced and his importance as the founder of the phenomenological tradition. As such, this chapter serves not only as an introduction to Husserl, but to the themes and philosophical considerations that continue to define phenomenology more broadly. It starts out, for instance, with Husserl’s critique of psychologism and naturalism, and the aim of returning to the description of things as they are given to consciousness, guaranteeing the clarity and absolute certainty of the outcome of his investigations. Van Mazijk then introduces the reader to Husserl’s work on intentionality, the natural attitude, the phenomenological reduction and the epoche. Then follows a more in-depth explanation of eidetic variation and the difference between constitutive and genetic phenomenology, the latter marking a shift in focus from Husserl’s earlier to his later work. The chapter concludes with a discussion of Husserl’s concept of ‘horizons’ and his analysis of time. By the end of these 36 dense pages, the reader is acquainted with many concepts and themes essential to understanding the other thinkers, although it is likely that those novel to phenomenology will have to return to this chapter for clarifications later on.
As the previous one, the chapter on Heidegger is divided between the early and later works. The priority is given, understandably, to the earlier work, Sein und Zeit (1927) in particular. Van Mazijk spends some time establishing the relationship between Husserl and Heidegger, and consequently the personal and intellectual rift between the two. He emphasizes Heidegger’s deviation from Husserl, especially where it concerns their respective epistemological positions by highlighting Heidegger’s recognition of human finitude and “the insignificance of every human attempt at knowledge” (p. 72). Simultaneously, he shows how Heidegger employs a kind of phenomenological reduction in carrying out his existential analytic of Dasein to uncover the ‘meaning of Being’. The main part of this chapter is dedicated to examining the results of this analysis, including the ontological difference between beings and in general, being-in-the world as human existence, care, the distinction between Vorhanden and Zuhanden through the classic example of the hammer, and the different modes of human existence in fallen-ness and authentic being. The chapter concludes by referring to Heidegger’s later works, of which only The Question Concerning Technology is discussed somewhat extensively.
The third chapter, on Sartre, is almost a third shorter than the preceding two and by far the most critical of the author discussed. In the introduction Van Mazijk makes it clear that, rather than a rigorous philosophical teaching, Sartre’s existentialism was more of a cultural movement, “comparable to the American beat generation” (109). Sartre, he argues, uses Husserl and Heidegger’s phenomenology primarily to ground his theory of the radical freedom of human beings. According to Sartre’s analyses, expounded in his main works Le Transcendence de l’Ego (1936) and L’Être et le Néant (1943), consciousness is essentially nothingness, an apersonal, transparent process without fixed properties. It is this essential nothingness, being-for-itself, that constitutes the freedom against the being-in-itself, the massive presence of the outside world. Thinking one is ‘something’ or a definite ‘someone’ is living in bad faith, a denial of the true, free essence of human life; hence Sartre’s famous proclamation that “existence precedes essence”. Van Mazijks main critique of Sartre’s brand of phenomenology is that it is flawed and inconsistent. It is flawed, since it denies the limiting constraints put on freedom by concrete reality. It is inconsistent, on the other hand, because Sartre modifies his theory on multiple occasions to undercut objections raised against him, or to avoid unwanted conclusions that seem to follow from his premises. For example, he rejects the possibility of radical egoism by introducing a kind of Kantian deontology in his lecture Existentialism is a Humanism, without much ground for these kind of ethical constraints on human freedom present in his earlier works. All in all, it seems Van Mazijk includes Sartre in the book more because of his historical influence in popularising phenomenology in Europe mid 20th century, rather than his philosophical accomplishments in their own right.
The fourth chapter discusses the work of Merleau-Ponty. The shortest chapter of the book limits itself to discussing La Structure du Comportement (1942) and Phénoménologie de la Perception (1945). Van Mazijk stresses Merleau-Ponty’s achievements in his analysis of perception as the fundamental way in which subject and object, or consciousness and world, interact. For each work, he shows how Merleau-Ponty’s dialectical style of doing philosophy results in a new understanding of this interaction. He shows how Merleau-Ponty uses insights from Gestalt-psychology to show how the intellectualist and physiologist paradigms of human behaviour are both lacking in their own right when it comes to describing and explaining behaviour, while his own position ambiguously oscillates between these subjectivist and objectivist poles, resisting a reductive interpretation. Similarly, in Phénoménologie de la Perception Merleau-Ponty shows how both empiricism and intellectualism remain stuck in the natural attitude towards the world, whereas perception as the portal to this world cannot itself be understood in terms of it. His own phenomenological analysis, combined with insights from empirical research, again paints a more holistic and ambiguous picture of the relation between man and world, in which the living body is the locus of this interaction. Van Mazijk emphasises that Merleau-Ponty’s phenomenology is much closer to Heidegger and Husserl than it is to Sartre – although the deviations from Husserl are significant, including the integration of empirical research in his philosophical works, leading to a more interdisciplinary phenomenology.
The fifth and final chapter of De Wereld als Verschijning explores the work of six lesser known phenomenologists in brief. These are, in order, Max Scheler, Edith Stein, Eugen Fink, Alfred Schutz, Emmanuel Levinas and Jan Patočka. Here, too, a brief biographical introduction is followed by a discussion of their work. Since only a few pages are dedicated to each thinker, their treatment is condensed to a defining theme. For Scheler, this is love; for Stein, empathy; for Fink, phenomenology itself and the possibility of philosophy in general; for Schutz, philosophy of the social world and the foundations of sociology; for Levinas, the Other; and for Jan Patočka, the care for the soul. This chapter is a nice addition to an introduction to phenomenology, since it shows the influence and scope of phenomenological research. The choice of authors seems somewhat arbitrary, though; certainly, other writers in the phenomenological tradition could have been considered, such as Frantz Fanon, Ludwig Binswanger, Luce Irigaray or Iris Marion Young. Their influence today is certainly no less than Patočka or Schutz, and the inclusion of especially Young and Fanon would have added some diversity. They opened the door to what is now called Critical Phenomenology, and have been instrumental in pointing out how the supposedly ‘neutral’ consciousness of classical phenomenologists obscures latent presuppositions on what it is to be human. It is also notable that Simone the Beauvoir receives no more than a passing mention in the chapter on Sartre, while she is from a philosophical perspective undoubtedly as influential as her life-partner.
The book starts out with the question ‘what is phenomenology?’, and by the end the reader has a good idea of what Husserl, Heidegger, Sartre and Merleau-Ponty thought on this matter. However, Van Mazijk’s own view on the matter is not discussed in detail. In the conclusion, he briefly discusses the modern, specialized applications of phenomenology in different branches of science, such as psychiatry and artificial intelligence. It appears he laments this development and prefers the ‘grander’, more ambitious transcendental and existential projects of the past. He writes: “Only the future can tell whether the phenomenology of the 20th century had maybe more to offer than a reservoir of ideas for scientific application”, and it is clear that he certainly thinks so, but how exactly remains obscure. Throughout the book, he mentions these modern applications of phenomenology, but never elaborates in detail. This is a missed opportunity, since it could have emphasized the importance and relevance of the tradition, and potentially inspire those readers not strictly interested in abstract philosophy.
All in all, Van Mazijk provides a detailed and supremely readable introduction into phenomenology, which will undoubtedly be of great value to those interested in learning about the tradition and its main figures, or students looking for a good overview. De Wereld als Verschijning is the first book of its kind published in Dutch by a Dutch author in several decades, and it is a testament of the knowledge, passion and dedication the author has for his field of expertise.
 van Mazijk, C. 2020. Perception and Reality in Kant, Husserl, and McDowell. New York, NY: Routledge. For a review of this book in this journal: http://reviews.ophen.org/2020/08/23/perception-and-reality-in-kant-husserl-and-mcdowell/.
The Impenetrable Gaze
Images and stories provoke desire. To use an example from chapter 13 by Jean-Luc Nancy of this book under review, a group of refugees after an earthquake install a television antenna in order to watch the World Cup in their tents. “The filmmaker (character) asks him: ‘Do you find it appropriate to watch television these days?’ The man answers: ‘Truthfully, I myself am in mourning. I lost my sister and three cousins. But what can we do? The Cup takes place every four years. Can’t miss it. Life goes on.’” The Soccer Cup is for him, for them, pure image: television screens, as well as soccer imagery for all those who around bad balls on terrains of fortune, while dreaming vaguely of distant fame, of the kind achieved by Maradonna.” (246) This connection between images, stories, and desire are constitutive of what it means to think about film. When desire is invoked in viewing or making a film, eros pervades the gaze (see this earlier review for discussion of the gaze). The gaze can be impenetrable—is it of the camera, the viewer, the director, or culture at large? Is it one of acceptance or critique, analyzing or to accepting the images that come into being through the eye (I)? As seen in this book, feminists Irigaray and Kristeva describe films that toe the line between different gazes, surveying through male or female enjoyment, treading on each form of impenetrability. Yet each of these chapters attempt to penetrate the gaze. The same follows for other forms of intersectionality, whether it be orientalism, class, regionalism, etc. Exemplifying impenetrability, the theory or philosophy does not easily allow the viewer (or the film-maker) their own power/ agency in viewing or understanding film. Here is where several authors, names which include Bergson, Adorno, Merleau-Ponty, Benjamin, Lyotard, Agamben, Deleuze and others, can help or deter us. This collection, edited by Christopher Kul-Want, includes the history of film philosophy in 18 chapters, and exemplifies the impenetrable gaze—all that one could desire from 20th century philosophy and cinema.
Bergson uses the term image to relate a “dynamic, interrelated, and mutually affective relations…memory, as we have tried to prove, is not a faculty of putting away recollections in a drawer, or of inscribing them in a register. There is no register, no drawer…it follows us at every instant; all that we have felt, thought and willed from our earliest infancy is there, leaning over the present which is about to join it, pressing against the portals of consciousness that would fain leave it outside.” (37) Memories are “messages from the unconscious” – our character contains the “condensation of the history that we have lived from our birth” (38) – images, poems, music. This time period can tell us something about our reality now. What Adorno shows is the absolute force culture has on our consciousness. Did this not exist in the same way in previous centuries? Certainly advertising and media did not have the same power it has now. Adorno and Horkheimer continue, “When the detail won its freedom, it became rebellious and, in the period from Romanticism to Expressionism, asserted itself as free expression, as a vehicle of protest against the organization. In music the single harmonic effect obliterated the awareness of form as a whole; in painting the individual color was stressed at the expense of pictorial composition; and in the novel psychology became more important than structure.” (88) When each art form becomes precisely that, a form of manipulation or device – that is a sellable, buyable, transferable thing – then the work of art is no longer a magical or transcendent object. Film is one powerful example of this. “Real life is becoming indistinguishable from the movies.” There is no room for imagination or reflection, they write. We are transfixed, brought into a world for which there is no escape. “[T]he film forces its victims to equate it directly with reality.” Eager to find the next fix in any film, it doesn’t matter which one, the viewer empties himself of subjectivity. Not a single artist escapes censure. Orson Welles alongside Schönberg and Picasso, Wagner alongside Mozart. These are all of a piece, to express a sound, a picture, an image that sells, is consumed, and bought and sold for a few to gain thereby. And the sad fact of the matter is that most people who consume the art are not aware that they are being manipulated so. “[T]he workers and employees, the farmers and lower middle class” are the consumers, Adorno and Horkheimer point out (91). Film may capture this better than any other medium. But film also manipulates, curves desires towards it, leaving the perceiver dumb-founded (or shocked) by the tactile. “Such an experience of shock, Benjamin says, interrupts cognition, and leads the spectator to conclude, “I can no longer think what I want to think. My thoughts have been replaced by moving images.” (8)
For Merleau-Ponty, his film work is rather brief, one essay from 1945, the same year he published Phenomenology of Perception. When he discusses Descartes’s famous passage in the Meditations in which “hats and coats” pass by me on the street, Merleau-Ponty differentiates himself from the 17th-century philosopher and classical psychology by defending gestalt theory. “By resolutely rejecting the notion of sensation it teaches us to stop distinguishing between signs and their significance, between what is sensed and what is judged,” he writes (104). While many current psychologists might not recognize this thought as their own, Merleau-Ponty held a chair of child psychology at the Sorbonne and is often misread in philosophy circles. Reading this essay helps repair his view of how film as perceptual object follows a “temporal gestalt.” He finds much meaning in cinematographic rhythm: “Since a film consists not only of montage (the selection of shots or views, their order and length) but also of cutting (the selection of scenes or sequences, and their order and length), it seems to be an extremely complex form inside of which a very great number of actions and reactions are taking place at every moment.” (107) The rhythm exists as much for images as sounds, Merleau-Ponty thinks, and what both of these contains is “expressive force.” If Bergson seems as much a biologist as philosopher and Adorno bends his analysis towards sociology, Benjamin toward literary theory (as we now call it), then Merleau-Ponty is the psychologist of the group. The sight and sound together bring a “new whole” just as reading each of these thinkers separately allows us to think about the film in discrete but overlapping ways. Cinematography gains true allies if it is to be both critiqued and appreciated, and it requires the film maker(s) as much as the audience to recognize this. These first four chapters set the stage for the whole, encompassing 1907-1945, and alongside Kul-Want’s introduction (see 108) provide us enough context to see where the rest of 20th century film analysis will go.
The next five chapters, encompassing 1970-1985, take a leap since nothing from the period of Krakauer among others is included here. Jean Baudrillard’s “On Contemporary Alienation or the End of the Pact with the Devil” (1970) contains a detailed discussion of the film, The Student of Prague (1913, 1926). When teaching this chapter in a philosophy of film class, most students really resonated with this film and analysis. The plot is a recognizable one: a student sells his image to the Devil in order to be accepted and to have pleasure. How one sees oneself in the mirror by means of commodity culture shapes one’s identity and the more we buy an image of ourselves the more we are alienated from ourselves. Baudrillard writes, “The mirror image here symbolically represents the meaning of our acts. These build up around us a world that is in our image. The transparency of our relation to the world is expressed rather well by the individual’s unimpaired relation to his image in a mirror: the faithfulness of that reflection bears witness, to some degree, to a real reciprocity between the world and ourselves.” (117) Since marketing has become so powerful, even Baudrillard thinks this modern Faustian story is outdated since there is no originary subject from which we are alienated. The bargain with the devil is so complete that there is no going back to some authentic self free of the market. “For Baudrillard, the devil in these fables can be read as the capitalist system of commodification, while the loss of the protagonists’ likenesses (in other words, their very souls) to the devil represents the alienation and objectivization of labor power in the market place, ‘the image is not lost or abolished by chance: it is sold.’” (114) The more one buys, the more one is alienated. The dramatic demonstration of this alienated human being “is a being turned inside out, changed into something evil, into its own enemy, set against itself. This is, on another level, the process Freud describes in repression.” (119) This is what drives a human or a culture to its death or to madness. But it is still possible, says Baudrillard to save one’s soul. We have dominated nature so completely, our sexual drives and human relations, “including even fantasies…is taken over by that logic…in which everything is spectacularized…there is no longer any soul, no shadow, no double, and no image in the specular sense.” (120-1) We are purely and entirely haunted by this ancestral fable, the Devil being just a filmic memory of what used to be, “there is only a shop window—the site of consumption, in which the individual no longer produces his own reflection, but is absorbed into the order of signifiers of social status, etc.” (121)
Luce Irigaray, in “The Looking Glass, From the Other Side,” achieves a new language in speaking of film, exemplifying l’écriture feminine through what Kul-Want calls “performative writing.” This chapter, originally published in 1973, becomes the first in her This Sex Which Is Not One and provides a fine-grained and profound analysis of the film The Surveyors (Les Arpenteurs, 1972). A review such as this cannot do justice to her style. Irigaray’s lyrical form, displaying women’s libidinal desire and gaze, cannot be that of the surveyor in Soutter’s film and “is rooted in a critique of patriarchy and its conception of identity as formed by means of a metaphysical, structural opposition between the One and its lack.” (124) Such thinking needs to be dissolved, says Irigaray, “conceiv[ing] of the notion of woman as a radical absence of identity—zero rather than One—for which there is no definition.” (ibid.) The point of a woman discovering herself without seeing herself through the man’s gaze:
So at four o’clock sharp, the surveyor goes into her house. And since a surveyor needs a pretext to go into someone’s house, especially a lady’s, he’s carrying a basket of vegetables. From Lucien. Penetrating into ‘her’ place under cover of somebody else’s name, clothes, love. For the time being, that doesn’t seem to bother him. He opens the door, she’s making a phone call. To her fiancé. Once again he slips in between them, the two of them. […] Does his intervention succeed? Or does he begin to harbor a vague suspicion that she is not simply herself? He looks for a light. To hide his confusion, fill in the ambiguity. Distract her by smoking. She doesn’t see the lighter, even though it’s right in front of her… (127)
The analysis of this scene of The Surveyors points to missed and captured attention, unfettered desire, and the subtleties of consent and patriarchy brought into the light. The play of characters, male and female, stand in for mirrors, front and back. Here is Alice’s Adventures in Wonderland from the other side. As Kul-Want perceives,“[W]oman puts into question all prevailing economies and their calculations since ‘she’ does not possess an identity and nor does ‘she’ lack one.” (17)
Jean-François Lyotard claims that the importance of movement in cinema has two forms, a static and an excessive, and that even the gaze is not simple voyeurism. As in “gaps, jolts, postponements, losses, and confusions,” the pyrotechnics of film ensure that the “entire erotic force invested in the simulacrum be promoted, raised, displayed, and burned in vain.” (145, 143) The static movement, however, is not only immobilizing since the image “give[s] rise to the most intense agitation through its fascinating paralysis.” (149) Crucial to his line of analysis is the point of view of the director, how the director sees the thing which we wishes to represent in terms of these varied movements. Cinematography, then, captures e-motion in the way that Agamben in a later chapter will describe gesture. They are each in their own way expanding upon Merleau-Ponty’s “understanding of the genealogy of the Kantian philosophy of subsumption beyond Descartes, proposing that it underlies the very notion of identity in the West as this pertains to all aspects of subjective experience and thought.” (14) As in Žižek’s analysis below, and following Freud’s Beyond the Pleasure Principle (1920), the “unfettered libidinal drives” and “unconscious investments—formless movements of jouissance—are denied by the culture industries in their relentless interpellation of the consumer.” (16) For the sake of space, I will not discuss the two chapters on Deleuze here, but Kul-Want’s selections and introductory material are really valuable for the student trying to approach these themes for the first time.
Philosopher, literary critic, and psychoanalyst Julia Kristeva may help with some of this frustration of understanding impenetrable thoughts in her chapter, “The Malady of Grief: Duras,” taken from her book, Black Sun: Depression and Melancholia (1987). Along with Cixous and Irigaray, Kristeva has done more regarding the term jouissance than almost anyone, barring possibly Lacan. “Such jouissance in these contexts is violent and painful and yet, part of the violence of this experience, its excess, is that it is also joyful and ecstatic.” (200) Grief encompasses the experience of watching a film and the “despoliation of nature” (202). Kristeva is interested in interrogating the existence of states largely overlooked: “Psychosis, depression, manic-depressive states, borderline states, false selves.” Among others, Dostoyevsky and Hans Holbein are inspirations for her work. Another person she believes to have looked into grief is Marguerite Duras, whose script for the film Hiroshima Mon Amour (1959), allows one to think about postwar melancholy and the future of our emptiness as a national and global community.
Slavoj Žižek looks at Hitchcock through a Lacanian lens. He doesn’t repeat here his analysis in the documentaries, The Pervert’s Guide to Cinema and Ideology, but supplements them. Hitchcock’s storytelling pervades what Žižek calls the “continuous filmic gaze” (226), that is, referring to the title of this chapter which originates in Racine’s Phèdre, “In his bold gaze my ruin is writ large.” While much of this chapter is an analysis of Psycho (1960), Hitchcock’s earlier film, The Lady Vanishes (1938), is also discussed. What Žižek tries to show, in Kul-Want’s words, is how in the latter film “the window function as a symbolic screen lining ‘diegetic reality’ and thwarting the Real, while the writing upon the screen are signifiers […] —that is, symptoms— of a subjective void that cannot be framed and represented but around which signification revolves: in this instance the vanished lady. […] As Lacan says, language speaks (ça parle, it speaks) of an absence within itself.” (220) The narrative of desire is that we are always already driven and will be forever by different objects, different stories. Curiosity for the new and the hidden accentuate this desire. When we want to see more than we are allowed to see by the gaze that is all powerful, our ruin is writ large. The reality of what we are looking at destroys us. “In the guise of the Other’s gaze,” he concludes,
Hitchcock’s entire universe is founded upon this complicity between ‘absolute Otherness,’ epitomized by the Other’s gaze into the camera, and the viewers look—the ultimate Hegelian lesson of Hitchcock is that the place of absolute transcendence, of the Unrepresentable which eludes diegetic space, coincides with the absolute immanence of the viewer reduced to pure gaze. (234)
Norman of Psycho is “the quintessence of the disembodied drive” (22), but the filmic gaze points beyond to the space between the symbolic and the Real. The themes of desire, otherness, and ideology are brought together and yet hidden from our view.
The sheer amount of analysis of film can become overwhelming. In Jean-Luc Nancy’s chapter, “And Life Goes On,” the emphasis is on “ideas of withdrawal, spacing, and separation.” (241) The film Nancy uses to show this is by the Iranian director Abbas Kiarostami, Life and Nothing More (1992). Following the earthquake and the men who watch football mentioned in the first paragraph above, the film reveals how the flow of life continues after mourning and catastrophe. The automobile is a major character in the film (“it moves by itself, it moves ahead, outside of itself, it carries what presents itself, toilet seat or stove, occasional passengers…” (248), as is the landscape and the rubble. In addition to human interaction, the villages have been broken by faults, both inside and between. Nevertheless, “the film remains a film, and never lets us forget it—precisely by means of its contrasts and its insistence on the framing—always the car, its windows, its doors, and the sides of the road, always on the verge of being out of focus; but also and just as well the patient arrangement of everything…[as] a document about ‘fiction’: not in the sense of imagining the unreal, but in the very specific and precise sense of the technique, of the art of constructing images.” (249) This film between documentary and fiction does not Orientalize or Romanticize. Rather, “[i]t is their simultaneous continuation and the continuation of each other: the road, the automobile, the image, the gaze” that goes on like “the vast, permanent expanse of the countryside and its people.”
The right to tell one’s story and the search for story is behind much of 20th century film and philosophy. In Contesting Tears, Stanley Cavell analyses American films from the 1930s and 1940s that concern themselves with “the female protagonists [who] desire recognition from their partners, not just in the private, domestic sphere of their lives, but in the public realm too.” (18) Unlike Laura Mulvey’s famous “Visual Pleasure and Narrative Cinema,” (1975) Cavell defends the gaze as when the protagonist of Stella Dallas (1937) “watches her daughter through a window that is framed like the proverbial cinematic silver screen.” How marriage, divorce, and finding one’s father or mother can be both Freudian and reconciling in a peaceful rather than conflictual way allows one to mirror filmic selves by recognizing aspects of characters (for example, Greta Garbo in Camille, 1936) who find themselves in the film story that reinvents “love [as] mysterious, in its crossing of torture and bliss.” (268) A definition of marriage as a “meet and happy conversation” defended by Cavell through two genres of film where the distinction between desire and law in relation to the past and memory becomes elemental in understanding power relations. In one of the best passages if Contesting Tears, Cavell writes, “the struggle between the sexes can play itself out without interruption (for example, by children, or by economic need), on the sublime level of difference mutually desired and comically overcome. In the melodramas the education of the woman is still at issue, but within their mood of heavy irony, since her (superior, exterior) knowledge becomes the object-as prize or as victim-of the man’s fantasy, who seeks to share its secrets (Now, Voyager), to be ratified by it (Letter from an Unknown Woman), to escape it (Stella Dallas), or to destroy it (Gaslight), where each objective is (generically) reflected in the others…” (265) There are very few American authors on film who can measure up to many of the philosophers in this book, but Cavell can.
In the last four chapters, we are brought from the 20th into the 21st century. Jacques Rancière analyses one film in detail, Fritz Lang’s While the City Sleeps (1955). The film is a fable of “the bodily movements and exchange of glances that cast these schemers into always unstable relationships of inferiority or superiority.” (276) Each of the characters produces a mask to hide their own power. The way in which film is capable of reproducing this fable contrasts Deleuze’s account since for Rancière, “[film] is composed of a constant tension between classical narrative construction, ultimately derived from Aristotle’s idea of a ‘story well told’ (muthos), and its visual and sensate affects that have the potential to exceed signification (opsis).” (26) This means that cinema not only reproduces ideology, but potentially arrests it such as when “the murderer stands like a parent beside a young girl in front of a shopwindow…for a few moments, these scenes in front of shopwindow displays are not simply pauses or moments of rest in the narrative but an ‘empty time, the lost time of a stroll or the suspended time of an epiphany’ that changes the very meaning of the notion of an ‘episode.’” (272) The notion of mimesis as in any way linear is put into question. Lang inverts Aristotle. The notion of the gaze becomes a point of dissension and yet a “change from ignorance to knowledge” (in the Aristotelian sense of recognition) requires a comprehension of Oedipus Rex: “here’s the man that was the child.” (277) The lost time of the stroll and the time of projects or the time of narrative are put into opposition. The way in which “speech,” “gaze,” and “hands” operate between the camera and the living room, the murderer and the lover, the projection and maturity all come into focus, as when Rancière describes the scene: “Mobley faces the murderer as he would face his kid brother who never left the stage of intellectual and manual masturbation and of papa and mama stories, and is still wondering whether it was for wanting him that a man and a woman performed the series of movements known as making love.” (285-6) As a German emigrant to America, the scene is one of recognition and disillusionment, knowledge and loss by means of the “new apparatus of the visible that cinema as such has to confront.”
Alain Badiou, in his Cinema as Philosophical Experimentation, also believes that cinema thinks. It can challenge and prod us to move beyond – but it is also a product of capitalism and thus can equally captivate and numb. It is a question of image, time, painting, music, and novelty. All of these are equally political and ethical, since “cinema deals with courage, with justice, with passion, with betrayal.” (297) As examples of this thinking and this challenge, Badiou discusses Eisenstein’s The Battleship Potemkin, Hitchcock’s Rebecca, Rebecca, Rosellini’s Journey to Italy, and others. He speaks here of the ‘event’ meaning radical political events such as 1968 and changes within epistemology. “Truth-event” is his word for Plato’s Idea of absolute truth, as Kul-Want points out, and yet for Badiou, “the event is true in an absolute sense because it is radically multiple, irreducible to its causes and conditions.” (292) Like many of the authors in this collection, Badiou believes cinema to have the power and the capacity to transform our fantasies. Cinema as philosophy means the love and the truth contained in its origins, and films such as Orson Welles’s The Lady from Shanghai or Mizoguchi’s The Crucified Lovers exemplify a difference between cinema and philosophy, learning from each other through “rupture.” Cinema is a transformative ‘event’ (as Benjamin, Adorno and Horkheimer thought) “that both reinforces and reproduces the fantasies of the social imaginary.” (27) By engaging the audience in a struggle against oppression, “something almost miraculous happens when cinema manages to extract a little bit of purity from all that is worst in the world.” (306)
In Technics and Time, 3: Cinematic Time and the Question of Malaise, extracted here, Bernard Stiegler, who passed away tragically while writing this review in 2020, begins by taking up the desire for stories, which he thinks is an ancient desire. Modern society is “animated by the most complex, and most secret, of social movements.” This is precisely what Adorno and Horkheimer mean by culture industry, which now “constitute the very heart of economic development, whose most intimate power is clearly always the most ancient desire of all stories.” All of cinema and media then, for Stiegler, with their “technics of image and sound—now including informatics and telecommunications—re-invent our belief in stories that are now told with remarkable, unparalleled power.” (311) The important point here, which I cannot emphasise enough, is how Stiegler takes up the history of philosophy, including Plato, Kant, Husserl, Heidegger and others alongside Simondon and Leroi-Gourhan, and reads the history of technology, that is, the relationship of techne and episteme, and considers how it affects our consciousness, including and perhaps especially children (see his Taking Care of the Youth). He writes, “Consciousness is affected in general by phenomena presented to it, but this affect occurs in a special way with temporal objects. This is important to us in the current investigation because cinema, like melody, is a temporal object. Understanding the singular way in which temporal objects affect consciousness means beginning to understand what gives cinema its specificity, its force, and its means of transforming life leading, for example, to the global adoption of ‘the American way of life.’” (318) Consciousness, and thus the gaze, is already cinematographic, Stiegler claims, combining a form of montage through a unified flux. Stiegler’s use of films like Fellini’s Intervista, Kazan’s America, America, or Resnais’s My American Uncle are cases in point “in which memory is a dense fabric of cinematographic citations.” (324-5) Kul-Want describes this process in the following way: “for Stiegler, the flow of temporality involved in listening to music or watching a film is always a matter of ‘imaginative’ and selective recombinations of experience through what Stiegler refers to as a tertiary form of retention, that is, in actual fact, constitutive of primary and secondary forms of retention. Such shifts in consciousness depend on the important fact that memory is a process of forgetting.” (310) Our notions of consciousness are not only impacted by what we watch and take in technologically in our everyday lives, but also by what we have forgotten as when we watch a film we’ve seen before and do not remember what happens. New stories then emerge such that the “American mythmaking” or Streetcar Named Desire (1951) or Gone with the Wind (1939) become more real than reality, a “symbol of freedom and hope…by virtue of being a land of emigrants who do not have a mythical shared oriding upon which a regulated, common future can be founded.” (311) This essay by Stiegler can be compared to that of Agamben’s “Notes on Gesture”, which Kul-Want points out “is also informed by the reproducible as a singular event involving forgetting and loss.” (20) For Agamben, then, we can even unlearn gestures and bodily postures or movements due to this forgetting. A decomposition of film, as in Marey, Muybridge, or the Lumière brothers, in which 24 frames per second define movement, intersects with experimental psychology and Nietzsche’s “ballet of a humankind” (213) The image is both broken off from and includes the whole. “And when the age realized this, it then began (but it was too late!) the precipitous attempt to recover the lost gestures in extremis. The dance of Isadora Duncan and Sergei Diaghilev, the novel of Proust, the great Jugendstil poetry from Pascoli to Rilke, and finally and most exemplarily, the silent movie trace the magic circle in which humanity tried for the last time to evoke what was slipping through its fingers forever.” (213) Cinema, says Agamben, is gesture and not image, thus belonging to ethics and politics.
The final essay, by Kaja Silverman, brings us back to where we began in Bergson. When Bergson wrotes, “What are we, in fact, what is our character, if not the condensation of the history that we have lived from our birth, since we bring with us prenatal dispositions…from this survival of the past it follows that consciousness cannot go through the same state twice,” (38) the same can be said for the gaze. In Silverman’s analysis, using Proust alongside Sartre and Merleau-Ponty as well as the Belgian filmmaker Chantal Ackerman, the gaze (le regard) is transformed into ‘the miracle of analogy’. Merleau-Ponty’s word for this is chiasmus, which Silverman says is the “name for the ontological thread stitching the seer to what is seen, the toucher to what is touched, and sight and visibility to touch and tactility.” (331) This intertwining at the heart of Merleau-Ponty’s The Visible and the Invisible means that there is not an “I” cut off from another: we are touched when looking and art allows us, says Proust, “to emerge from ourselves.” (332) The entire history of film (and of philosophy) can be contained in this imagined image of the gaze, to be able to see oneself through another lens transforms the self and the other. Silverman’s use of Ackerman’s The Captive (2000), a take on Proust’s À la recherche, vol. 5, explores “non-invasive” sexual pleasure and the meaning loving a lot, or loving well. In place of possessive grasping or obsessive jealousy, the camera “relies heavily upon the shot/reverse shot formation.” (336) While this technique is typically used to construct sexual difference, concealing the presence of the camera, Ackerman uses it to reveal the fourth wall: “Ariane and Andrée are separated from Simon by the fourth wall, so they shouldn’t be able to return his look, but they miraculously do. After he acknowledges the interdependence of his desire for Ariane, and hers for Andrée, and affirms the girls’ right to say ‘je vous aime bien’ to each other, they respond by smiling first at each other, and then at him.” Ever since Ackerman’s La chambre (1972), she has proven herself as a filmmaker of extraordinary innovation and a living incarnation of the miracle of analogy; though Ackerman passed away in 2015 we may still “see” her work. “Acgkerman shows these two looks meeting at the site of Ariane’s body, like the landscape invoked by Proust, Sartre, and Merleau-Ponty. If we were to translate this meeting into language, it would read: ‘je…vous…je vous.’” (337)
All of the themes of 20th century film and philosophy are contained brilliantly within Kul-Want’s collection. I cannot speak highly enough of its range and depth. Beginning with Bergson’s 1907 Creative Evolution and ending with Silverman’s 2015 The Miracle of Analogy, with Christopher Kul-Want’s aid all along, we can follow a trajectory of thinking and viewing without losing ourselves in the mindlessly numbing, not to mention impenetrable, weeds of the gaze.
The four sections of this review essay will each pursue a major facet of Nikolay Milkov’s monograph, a monograph mainly directed at professional philosophers and their postgraduate students, but not without interest for historians of ideas. Within the space available, we shall give particular attention to the opening chapters. Indeed, it is in these chapters that the fundamental framing of Early Analytic Philosophy and the German Philosophical Tradition is erected. They are finally re-engaged in the concluding pair of chapters, chapters that portray two dominant conceptions of analytic philosophy influencing its subsequent factional development; the consequent proliferation of incomplete often methodological definitions of analytic philosophy; and, finally, what amounts to the author’s manifesto for the future renewal of analytic philosophy. The questions governing the four sections of this critique can be summarised as follows. Firstly, how does Milkov construe the context of historical enquiries into early analytic philosophy? Secondly, what does he believe ought to be the task and goal of such endeavours? Thirdly, how do the demands of a case-study of the impact of a controversial major intellectual upon early analytical philosophers demonstrate his actual historical practice? Finally, to what extent do other significant, contemporaneous historical approaches invite further questions? Or, to recast this issue, do the assumptions Milkov makes about the very nature and crafting of the history of philosophy raise closer scrutiny and debate?
Milkov’s re-framing of the history of the early phase of analytic philosophy comes a half-generation after Daniel Garber’s reflection upon attitudes to the intellectual past by so many of its practitioners. Garber’s own generation was “reacting against … a bundle of practices” that could be characterized by several trends (2004: 2). These included the tendencies “to substitute rational reconstruction of a philosopher’s views for the views themselves,” “to focus upon an extremely narrow group of figures,” “to focus on just a few works … that best fit with … current conception[s] of the subject of philosophy,” “to work exclusively from translations and to ignore secondary work … not originally written in English,” and “to treat philosophical positions as if they were those presented by contemporaries” (2004: 2).
Before assessing how Milkov differs in his historical approach, let us focus upon the first two theoretical chapters of his sixteen-chapter volume in order to examine the underpinnings of that approach. Whereas the vast majority of chapters draw upon a dozen articles and chapters published between 1999 and 2012, both introductory chapters implicitly provide Milkov’s readers with his most recent thinking. It occurs within the statement of his over-arching aim of transforming the “largely disparate efforts” (4), notably but not exclusively since the ‘’seventies when Michael Dummett (1981: 628ff. & 665ff.) began probing the development of Gottlob Frege and the philosophy of language (also succinctly critiqued by George Duke (2009)). Milkov believes this can be achieved by “developing a comprehensive account of early analytic philosophy as a movement that both inherited and transformed an entire spectrum of themes … in mainstream German philosophy” (4). A significant factor amongst English-speaking commentators in avoiding, if not disparaging, the role of Germanic thinking from the twentieth century’s first world war to the aftermath of the second was “socio-cultural animosity and clashing ideologies” (4).
Milkov is well aware that his effort to construct “a theoretically balanced and comprehensive, ideologically unbiased account” involves him in pursuing “pioneering figures” of analytic philosophy such as B.A.W. Russell and G.E. Moore. More particularly, it demands that he demonstrates how they probed “inherited problems and doctrines” originating in Germanic philosophical thinking “in the language and theoretical idiom of a far different cultural and intellectual environment” (5). By so doing, we find that Milkov overtly opposes five historical conceptions of what many scholars construe as the Anglo-Germanic intellectual relationship (or lack thereof) during the initial period of the analytic movement (and subsequently elaborated when dealing with “incomplete definitions” of the extended analytic movement’s “methodological” and “defining themes” (208-212)). In brief, they comprise the following objections:
[i] that, as the twelfth and sixteenth chapter in the first volume of Scott Soames (2003) might be interpreted, Kant’s analytic-synthetic dichotomy was central to early analytic projects (5, cf. 8, 11-12);
[ii] that, despite efforts to reconnect two historically divorced yet aligned traditions in Paul Redding (2007) and thereby contend that Hegel’s “grand … theories” were central, but not his methods which Milkov specifically upholds subsequently (e.g. 46ff.) (5);
[iii] that, as promoted by the likes of Kevin Mulligan and Barry Smith, Kant and his followers operated “in principle” with a “universe of ideas” totally independent of the analytic movement (5-6);
[iv] that neo-Kantians, notably Ernst Cassirer of the Marburg school, “were largely preoccupied with the philosophy of culture,” thereby ignoring their continuation of “the logicalization of philosophy initiated by Kant” (6, cf. 7, 221); and,
[v] as Dummett (e.g. 1981: xlii, 665-684) influentially maintained, that “Frege alone introduced analytic philosophy as a kind of philosophy of language” (6, cf. 12, 111, 209-210).
From the pivotal occurrence of Kant’s “recalibration” of occidental philosophy by “synthesizing logic with the rest of the field” (7), Milkov proposes the next major pivot to be neither Hegel nor Frege but Hermann Lotze. His investigations would later be identified, if not always acknowledged, as “signature concerns” of early Cambridge analyses, ranging “from the proposition, objective content—both conceptual and perceptual—of knowledge, and intentionality to the theory of logical forms, the objective nature of values and logical validity” (7). As Hans-Johann Glock (1999: 141ff.) emphasizes, the “logocentric” factor in what he regards as German analytic philosophy saw the pronounced rejection of the naturalist trend of reducing philosophy to an empirical science such as psychology to which the laws of logic were subservient and thereby functioning as little more than empirical, inductive generalisations.
The subsequent questioning of logocentric constraints rationalises Milkov upholding a distinctive, “discrete” second (or “middle”) phase of analytic philosophy initially associated with the Vienna Circle’s focus upon “problems of explanation in science” (9). Thereafter, he observes, a “clearly distinguishable” third (or “late”) phase emerged from the ’sixties with Van Quine, Thomas Kuhn, and John Rawls epitomizing “leading exemplars” of shifts into questions of translatability and interpretation, scientific revolutions and commensurability, and socio-political rules and cohesion. In sum, synoptic attempts to define analytic philosophy fail to “discriminate … different stages” (10) and thus distort historical actualities of its “multifacteted” development (11).
Chapter One ends by returning to its goal of “a fine-grained” investigation of topics “from alternative perspectives” that were “formative” of early analytic philosophy to be treated by way of its “methodology … which was more focused on descriptions than explanations” (11). Rather than impose a “monothematic,” if not hierarchical, interpretation upon actual analytic development, such as Soames’ singular notion of analysis or Dummett’s one of language (11-12), Milkov points elsewhere. We, in fact, face “concepts that survived the demise of the grand theories in which they originally figured” (13). At the same time, when “later recast by thinkers,” the “supersession of historically successive philosophical contexts, whereby seminal ideas make their way through history, explains why philosophically formative ideas are often difficult to recognize” (13). Furthermore, “the progress of these ideas was not always linear … nor was it always a function of a proximate influence” (13).
Chapter Two ends Milkov’s theoretical introduction by initially surveying attitudes of philosophers, be they analytic or other, towards their intellectual antecedents. Whilst so doing, he notes that even philosophers “cannot, in principle, write down their completely finished story” (18). This state of affairs holds irrespective of whether their successors, be they “friends or rivals,” develop “steps” suggested or even when others, attempting to demonstrate how their ideas are “constructed” or related, typically interpret such ideas as contributing to a “completely new problem” (18-19). Curiously, for a chapter devoted to the logical, systematic history of philosophy, Milkov does not pursue the conceptual consequences of history as retrospective narrative, a point to be expanded in our fourth section.
Milkov contends that the task of an historian of philosophy is fourfold, namely:
[i] explicating “elements” of the “different range and level of specific philosophical works”;
[ii] relating these elements within “a logical net” or, still metaphorically speaking, mapping them;
[iii] logically relating them to “the ideas of other philosophers: predecessors, contemporaries, successors” irrespective of whether they are “members of the philosopher’s school or group”; and, finally,
[iv] aiming to “develop them further in their authentic sense” (19).
That said, Milkov makes allowance for more implications arising from his four designated tasks. These include, for example, the need for historians—especially for those pursuing “logical connections” aiming to detail “a map without omissions” (26)—to adopt two directions. On the one hand, there is a diachronic quest for the “origins of particular concepts, problems, and theories” (20). On the other hand, there is a synchronic “reporting” about how other philosophers deploy these differently in order to “delineate … how the systematic philosophical problems and concepts, past and present, interrelate in formally determinate ways” (20). In his penultimate chapter, Milkov reframes this dual task along the lines of what Peter Strawson (1992: 17-28) once called “connective” as opposed to “reductive” analysis (203).
The foregoing may nonetheless leave readers wondering if Milkov’s fourfold set of tasks above is sufficiently explicated. Consider, for instance, why Milkov’s preferred “elements”—concepts, problems, theories—gradually focus upon the first two at the expense of the third. Consider again, how one is to construe Milkov’s metaphorical notions of “net” and “map.” The latter, as we shall consider in our final section, reveals some questionable presuppositions bedevilling theories of history applied to the realm of ideas. Finally. consider why his reference to “specific … works” omits the interpretive nature, let alone assumptions and consequences, of translations, transcriptions, and reconstructions of published and unpublished work or works; all the more so, when pitted against the goal of approaching its or their “authentic sense” (19). Is this appeal to “authentic sense” in danger of becoming embroiled in a potential dilemma? As argued in more literary circumstances by Saam Trivedi (2001), the underlying conception of communication ultimately “implies a commitment” to “the view that the correct meanings and interpretations … are fixed” or “at least … constrain[ed]” by their authors’ “actual intentions” in constructing their works (195). In other words, the problem is “an epistemic dilemma, a dilemma with redundancy as one of its horns, and indeterminancy as the other” (198). Imagine a situation in which Antonio and Alessia, archaeologists and keen students of accounts of the settlement of the Azores archipelago begin reading the fifteenth chapter of the 1894 Raymond Beazley history of “one continuous thread of Christian” European exploration and expansion across the Atlantic which “treat[s] the life of Prince Henry as the turning point” albeit one “clouded by the dearth of compete knowledge… but enough … to make something of … a hero, both of science and of action” (xvii). Both sense the above-mentioned danger of confronting them, namely, whether or not Beazley’s textual or oral sources are pervaded by ambiguity. If ambiguity is pervasive according to Antonio, the historian’s attempt to appeal to contexts if not conventions as a sufficient constituent of his sources’ meaning in cases of failed or indeterminate intentions begins to crumble. The dilemma remains if, as Alessia contends, ambiguity here is not pervasive because the sources threaten to become superfluous especially in the face of Beazley’s ideological pre-occupations.
Our previous section has in passing questioned Milkov’s conception of the goal and task of historians of (early) analytic philosophy in terms of retrospective narratives and metaphors of mapping. However, before turning to these issues in our final section, we shall pursue, albeit briefly, how the demands of a significant philosophical case-study demonstrate his actual practices. Here, we find a rich array from Chapter Three onwards. In practical terms, we would hardly expect a volume of under three hundred pages to present a fully “comprehensive,” let alone an “unbiased,” account (5); rather, it acts as a corrective by challenging engrained scholarly perspectives with alternative ones. An example of a complex major German thinker, initially rejected by Russell and Moore as intersecting with early analytic philosophy, should suffice, namely, Hegel, a pivotal figure for what is popularly called the European idealist movement.
Milkov acknowledges the recent role of Redding (2007) and Angelica Nuzzo (2010) in drawing parallels between analytic philosophy and Hegel’s approach to concepts (46). However, he elects to highlight an “unexplored” perspective of the “methods employed” not as the “genealogical connection between … two theoretical orientations, but rather … [as] their kinship” (47). His prime candidate is the “economic method of elimination” (as distinct from the “reductive” conception of analysis in which particular concepts were assigned to specific classes (cf. 49)). Early analytic philosophers, beginning with its “only one founding father,” Russell (221), deployed elimination to rid analysis of “a superfluous duplication of terms” (47). For instance, if Antonio knows the words comprising a proposition (“The Azores is Europe’s largest volcanic archipelago”), then by that very fact he knows its meaning. If his colleague Alessia can confirm that the hypogea of the Azores are products of human activity at least a millennium before European settlement from 1433, then, ipso facto, she can prove that there were ancient people and things before and beyond herself.
This method, asserts Milkov, is akin to Hegel’s mereological approach in logic to analysing the relationship between a whole or totality and its parts or elements. By so analysing the connections between parts of a whole by “the most economic type of connection between them,” Hegel can simultaneously characterize those between the parts and the whole which “are unities of individuals” (48), the latter, citing Hegel (1830: §158), functioning as “only moments of one whole.” Nonetheless, Milkov concedes that the above method specifically “related to Hegel’s dialectics” was “a major trend” amongst fin de siècle philosophers ranging from William James, a key contributor to the North America pragmatist movement, to Edmund Husserl, a major instigator of the European phenomenological movement, and not peculiar to the early analytic movement as such (49).
For Milkov, only the early Wittgenstein (1922) fully embodies Hegel’s dialectics where “every concept transforms into another concept” and thereby making it “more precise” (50). His other nominee is Rudolf Carnap who, during the middle or second period of the analytic movement’s trans-Atlantic debates over the logical quest for conceptual or definitional precision, “called the practice of analysis explication” (50). Thereafter, the relatively open-ended use of “explication”—nowadays known as “conceptual (re)engineering”—by advocates in philosophical and psychological fields has seized upon experimentally or experientially driven applications of theoretical enquiries. Whereas Milkov subsequently concentrates upon Susan Stebbing’s criticisms (e.g. 186-187), the contested arguments of Quine and Strawson amongst others continue to reverberate. These include, for example, the viability of securing necessary and sufficient conditions; the validity of distinctions between analytical and empirical truths; the separation of denotative and connotative meanings; the division between semantic and pragmatic kinds of context and reference; and the methodological question of whether “explication” ultimately alters the subject of enquiry or forcibly resolves it by way of implicit stipulation.
Hegel’s mereological approach above carries implications for its relationship to the “absolute” or “absolute idea” which Milkov construes more generally amongst German idealists as determining “the characteristics and behavior of all individuals that fall under it with necessity of a law” (62). Later, focusing upon the early Russell under the specific influence of Lotze, Milkov claims that Russell, when first emphasizing “the logical discussion of metaphysical problems,” conceptually distinguished between space and time “as consisting of relations” and “as adjectives to the absolute” (89). What is ignored here is an alternative account of the “absolute idea” which, according to Markus Gabriel (2016), is grounded in “methodological assumptions designed to guarantee the overall intelligibility of what there is, regardless of its actual natural, social or more broadly normative structure” (181). Gabriel’s challenging perspective centres upon “how reality as a whole is the main topic of Hegel’s philosophy” which includes the crucial task in the face of scepticism of “accounting for the presence of self-conscious thinking in nature” (2018: 383). Irrespective of the merits of this alternative, it compels intellectual historians to ask if early analytic philosophers realised that Hegel’s “absolute idea” was not a first-order metaphysical method for disclosing, in Gabriel’s words, “the composition of ultimate reality in the sense of the furniture of mind-independent fundamental reality” (2016: 185).
There is something else Milkov largely seems to overlook in his treatment of Hegel’s mereological mode of dialectical analysis which only tangentially comes to the fore when his sixth and seventh chapters delve into Lotze’s focus upon the logical relations within judgements and its influence upon Russell and Moore (e.g. 73-74 & 76-77). For many readers, especially those more familiar with the third (or “late”) phase of analytic philosophy and its persistent debates about semantic holism, curiosity centres upon the extent to which the early analytic phase and its German antecedents wrestled with holistic assumptions. Yet only passing mention of Moore’s widely disseminated and influential Principia Ethica is made. Milkov simply remarks that the volume was “developed around the concepts of ‘organic unity’” or organic whole in a “quasi-Hegelian manner” (49)—notably, it may be added, in terms of the intrinsic and non-intrinsic values of whole and parts (e.g. 1903: §18-23, 27-36)—without any explicit mention of Lotze.
From an historical perspective, amongst the basic conceptions upheld by the generation of the late nineteenth and early twentieth century, the organic kind, as Dennis Phillips has long argued, took root in efforts to deny the adequacy of atomistic or mechanistic assumptions associated with the physical and chemical sciences of the day when applied, for example, to conscious beings, human societies, or even “reality as a whole” (1976: 6). Why? Because the “parts of an organic system are internally related to each other” (1976: 7). Internal relations are commonly explained by such propositions as the “whole determines the nature of its parts”; “parts cannot be understood … in isolation from the whole”; and, parts are “dynamically” inter-dependent or -related (1976: 6). To accept internal or intrinsic relations, continues Phillips, rapidly leads to the contestable belief that “entities are necessarily altered by the relations into which they enter” (1976: 8). Hegel’s mereological approach in, for example, The Science of Logic is replete with holistic assumptions. This becomes all the more so as Hegel probes the “essential relation” in that work’s 1813 The Doctrine of Essence as “the relation of the whole and the parts” wherein the whole “consists of the parts, and apart from them it is not anything” (1813: 449-450). Because the whole “is only relative, for what makes it a totality is rather its other, the parts” (1813: 451), Hegel unhesitatingly declares:
Nothing is in the whole which is not in the parts, and nothing is in the parts which is not in the whole. The whole is not an abstract unity but the unity of a diversified manifoldness; but this unity within which the manifold is held together is the determinateness by virtue of which the latter is the parts. (1813: 452)
In sum, we might ask, would focusing upon Hegel’s holistic commitments give us a more cohesive framework for explaining why the development of early analytic philosophy hinged upon overtly rejecting them for several decades at least? Or, if Milkov’s cryptic remarks about Hegel’s dialectical approach (e.g. 46-51, 75-76) tempt us to accept the reconstruction proposed by Gabriel (2011: 104-119), might this, in turn, explain why early analytic philosophers misinterpreted Hegel’s concept of the absolute in so far as it was premised on the “dialectical failure of transcendent metaphysics” from Kant onwards?
The last two chapters deftly portray three key issues motivating Milkov’s monograph which some readers may find worthwhile reading first of all before retracing earlier chapters for the expository details. These key issues include the emergence of two dominant conceptions of analytic philosophy influencing its subsequent factional development which, as Gordana Jovanović (2010) unwittingly demonstrates, echoes tensions within the early history of psychological theory and practice. Thereafter, Milkov turns to the resultant proliferation of incomplete, and often implicitly reified methodological, definitions of analytic philosophy. Finally, he ends Early Analytic Philosophy and the German Philosophical Tradition with what amounts to a manifesto for the future renewal of analytic philosophy partly by contrasting its fundamentally asymmetric relationship with “continental” philosophy and partly by looking to how reconnecting to scientific developments promises its theoretical interdisciplinary enrichment (217ff.).
Milkov’s closing chapters seek “to articulate a clear definition” based upon “the findings” of his preceding chapters and to “foster a more historically informed and theoretically nuanced understanding of analytic philosophy in general” (208). This statement returns us to his initial one about the ideal goals and tasks facing the historian of philosophy: “a theoretically balanced and comprehensive, ideologically unbiased account” (5). As noted in our previous sections, this left at least two historical issues in abeyance which we rather tersely associated with the retrospective character of narratives and the misleading metaphors of mapping. We shall briefly conclude by questioning the presuppositions of these and related issues whilst drawing upon recent re-conceptualisations of the crucial explanatory dimension of history of philosophy.
To ask Milkov what the criteria are that mark an historical account of analytic philosophy as balanced, comprehensive, and unbiased may well be accompanied by such questions as “From whose perspective?” or “By what objective measure?” More unsettling here is the possibility that we are dealing with an idealised set of attributes. How, were this the case, would we ever recognise a comprehensive or an unbiased historical account? The contrast with actual historical accounts immediately shifts our focus. For example, the question might now become whether any historical narration of the occurrences and persons said to be instrumental in the formation of the analytic movement—the role, for instance, assigned to the neglected Dimitri Michaltschew and Johannes Rehmke (153ff.) or Jacob Fries and Leonard Nelson (167ff.)—changes with each re-description by the historians involved, irrespective of whether their chronological, let alone intellectual, scope is relatively narrow or expansive.
Or, to change tack, do individual re-descriptions multiply other kinds of consequences facing historians of analytic philosophy? For example, if Dummett identifies Frege, Redding identifies Hegel, and Milkov identifies Lotze as pivotal to the development of early analytic philosophy, have we become trapped between Scylla and Charybdis, between accepting, on the one hand, a multiplicity of different pasts, different formative occurrences and persons, different causal sequences and accepting, on the other hand, an incapacity for historical accounts to become synthesized and for historical understanding to accumulate? Again, do we confront another consequence? To what extent is any historical narration ultimately a product of imaginative re-enactment where the historian has, as R.G. Collingwood proposed, “no direct or empirical knowledge of … facts … no transmitted or testimonial knowledge of them” (1936: 282)? Hence, when probing the formation of analytic philosophy, the historian is not engaging in an act of recollection where “the past is a mere spectacle” as distinct from being “re-enacted in present thought” (1936: 293). If so, how are we to defend the historical reconstruction’s claim to have disclosed the truth of the matter? Would it be feasible here to appeal to all narrated propositions within the account as not only constituting the facts but also corresponding to a past and actual state of affairs? Or would it feasible to presume that the narrative account is simply justified by an appeal to generalisations about intellectual influences, the Zeitgeist, which map particular occurrences and persons as necessary to the historical terrain being explored, namely, how the nineteenth-century German philosophical tradition or a pivotal figures within it influenced the early twentieth-century analytic movement? In turn, is that historical act of mapping or charting the means for automatically justifying what is therefore construed as significant and hence worthy of inclusion?
The foregoing questions, drawing upon the concerns of Louis Mink (1987) amongst others with the very idea and practice of history, emphasize that the past is not somehow immutable and unchanging, that the past is not somehow awaiting historical discovery to be told (by analogy with the excavations undertaken by our archaeologists, Antonio and Alessia, in the Azores archipelago). Rather, as Mink (1987: 140 & 79) contends, historical enquiries plumb developmental processes retrospectively. Being written from at least one particular perspective at the historian’s time and place, his or her account is thereby characterized by its “conceptual asymmetry” with the antecedent time and place under examination. In that respect, Milkov can be rightly seen as taking particular care over what might be implied and thus translated by Lotze’s concepts (e.g. 98ff.) that have misled Anglophone commentators and translators. Furthermore, Mink portrays a distinctive feature of historical accounts. Their significant conclusions are not so much a mathematical quod erat demonstrandum as what the preceding narrative “argument” aims to have “exhibited”: “they are seldom or never detachable” so that “not merely their validity but their meaning refers backward to the ordering of evidence” (1987: 79).
Finally, as Paul Roth (1989: 468ff.) suggests, there is a “logic internal” to the way in which a narrative account proves explanatory by using “cases … taken to be exemplary instances of problem solving.” In the course of so saying, Roth seems to have provided us with a set of criteria by which any historian of philosophy, Milkov included, can be evaluated. Does the historical account under examination establish the significance of the occurrence or the event, the person or the puzzle; what is problematic about that occurrence or event, person or puzzle; why have other rational reconstructions failed; and how has the narrative presented solved the problem set (1989: 473).
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