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" "For Foucault the true voices of unreason in the modern period went underground in art and literature, and they lacked a sustaining sociocultural background. The unmoored voices of unreason in an obscure dialogue with reason seemed to come not out of the cosmos or even out of a more delimited cultural context but out of the void. Here Foucault refers to such iconic figures as Nietzsche, Holderlin, Artaud, and Sade. He tellingly contrasts the paintings of Bosch and Goya. In Bosch, unreason is a subterranean force of the cosmos; in Goya (at least in certain paintings), unreason erupts from an abyss.
Dominick LaCapra (born 1939) is an American-born historian of European intellectual history, best known for his work in intellectual history and trauma studies. He served as the Bryce and Edith M. Bowmar Professor of Humanistic Studies at Cornell University, where he is now a professor emeritus.
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Rhetoric highlights the problem of how one reads texts. It even raises the question of whether historians are trained to read. I have already noted the tendency of professional historians to see texts as documents in the narrow sense of the word and, by the same token, to ignore the textual dimensions of documents themselves, that is, the manner in which documents “process” or rework material in ways intimately bound up with larger sociocultural and political processes.
Historiography today is not in that state of fermentation to be found in fields such as literary criticism and Continental philosophy. Historians tend to pride themselves on their immunity to the wormlike doubt and self-reflective scrutiny that have appeared in other areas of inquiry, notably those infiltrated by recent French thought. Far from seeing recent critical initiatives as holding forth the angelic promise of a reformation or even a renaissance in historical studies, many historians have been seized with what might almost be called a counter-reformational zeal in reasserting orthodox procedures. But the contemporary historical profession is not a solid block, and even the most traditional scholars show an openness to at least a few newer movements. If one were to generalize somewhat rashly about prominent trends in the profession, one might list the following: an inclination to rely on a social definition of context as an explanatory matrix; a shift toward an interest in popular culture; a reconceptualization of culture in terms of collective discourses, mentalities, world views, and even “languages”; a redefinition of intellectual history as the study of social meaning as historically constituted; and an archivally based documentary realism that treats artifacts as quarries for facts in the reconstitution of societies and cultures of the past.
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Genealogical history in both Tocqueville and Foucault begins with an important if not burning issue in the present and traces it back to its often concealed or repressed roots in the past. The purpose of such inquiry is not purely antiquarian. History for both men involves an at times intense involvement or implication of the historian in the object studied and an active exchange between the present and the past in ways that may be useful in shaping the future.