Tampilkan postingan dengan label interdisciplinarity. Tampilkan semua postingan
Tampilkan postingan dengan label interdisciplinarity. Tampilkan semua postingan

Minggu, 16 Desember 2012

Alpers on the Future of the Discipline

The 50th anniversary issue of Perspectives on History (Vol. 50, No. 9, Dec. 2012), my copy of which arrived in the mail on Thursday, features a forum on the Future of the Discipline.  Guest edited by Lynn Hunt, the forum includes a piece by Ben Alpers, "The Future of the Profession." 

As noted in Perspectives, Ben's contribution to the forum grew out of a talk he gave last year at the University of Texas at Dallas.  Ben was the keynote speaker at RAW, our annual symposium sponsored by the Graduate Student Association of the School of Arts & Humanities.  

Our theme at last year's symposium was The Future of the Humanities.  Historians are notoriously (and wisely) cautious about predicting the future, and Ben was no exception there.  But he did do an exceptional job of sketching out for a packed audience of grad students and professors some of the present pressing problems that cast a worrisome shadow on that future.  And he made some practical suggestions for what we can try to do about it. 

Ben published a revised version of his keynote speech on this blog.  His post, "The Academy in Peril," is well worth reading -- as is his article in Perspectives.  

Members of the AHA can access Ben's article online using this link:  

Sabtu, 08 Desember 2012

CFP: US Thought and Culture between Practice and Paralysis


Call for Papers:
‘Making it Work: US Thought and Culture between Practice and Paralysis’,
April 5th-6th 2013.
University of Michigan US Literatures and Cultures Consortium*

Deadline for Proposals - January 8th 2013 (Notifications of acceptance by February 1st).

Keynotes: 

Paul Taylor (Philosophy / African American and Diaspora Studies, Penn State): author of Race: A Philosophical Introduction

Lisi Schoenbach (English, University of Tennessee Knoxville): author of Pragmatic Modernism

 Are there distinctively American attitudes toward objectivity and truth, judgment and action?  Two of the most enduring cliches about US culture are, first, that its thought characteristically refuses universal grounds, and second, that it privileges material practicality over theoretical or metaphysical abstraction.  Yet without universal grounds, how can we be convinced that anything is worth doing?  Let’s grant that it is; such a groundless granting may initially let us act with a sense of freedom and unlimited potential, but justifying or revising that action requires us to establish provisional grounds that can themselves be hedged, negotiated, interrogated to the paralyzing point of infinity.  Which side of this tension to prioritize—whether to elide contingencies and reduce deliberative friction or to recuperate the experience of hesitancy and dwell in possibility—is a governing question for distinctively American thinkers from Jonathan Edwards to Audre Lorde, Emily Dickinson to Sidney Hook, Jane Addams to Timothy Leary.

With this interdisciplinary graduate conference, we, the US Literatures and Cultures Consortium at the University of Michigan, hope to foster cross-departmental discussion of questions like the following...

 How have objectivity, truth, rationality, and agency been represented and conceptualized in US thought and culture?  How have these models permitted or circumscribed action?  How have they informed individual and communal practices: from action planned or spontaneous, to decision-making public or private, to governance local and federal?  What universalist appeals do make their way into US culture?  How are shared belief and/or knowledge constructed, articulated, perpetuated, scrutinized and revised without universalist guarantees?  How have such modes of understanding interacted and conflicted? How, essentially, have US philosophers, artists, politicians and citizens forged justifications for acting and judging in a world without universal grounds?  And how and why have some of them found greater value in resisting just this rush to action?
 
Such questions might be addressed in relation to topics like, but not limited to, the following:
 
-the US-ness of US thought
-living with contingency
-specific artworks, historical and cultural events
-pragmatism, neo-pragmatism and other anti-foundationalisms
-metaphysics and materialisms
-epistemology and situated knowledge
-processes of investigation and discovery
-concrete realities and social imaginaries
-agency, deliberation and decision
-methods of social representation
-models of the public realm
-modes of belief, religious and secular
-individual and communal obligations
-art and social change
-educational methodology

Abstracts of up to 300 words for papers that will cast new light on these questions should be submitted by email to usistconference2013@gmail.comby January 8th 2013.  We seek submissions from fellow graduate students in any discipline, who work in any period of, and who take any approach to, US Culture.

Accepted presenters will be notified by February 1st.  
_____________________
*Ali Chetwynd, a PhD candidate in English at the University of Michigan and co-coordinator of Michigan's U.S. Literatures and Cultures Consortium, asked me to pass along this CFP, found at http://sitemaker.umich.edu/usists/conference_2013  
- LDB

Minggu, 25 Maret 2012

Why History Matters

Yesterday, at the fourth annual Graduate Student Symposium at the University of Texas at Dallas, Ben Alpers give an incredible keynote address on "The Future of the Humanities." I won't summarize his talk here, but I will summarize the audience response:  Ben rocked the house.  

After Ben spoke, I presented my own paper as part of a panel addressing the theme, "Why the Humanities Matter."  My colleagues Michele Rosen and Sara Keeth did an extraordinary job of explaining the cultural value of translation studies and literary studies.  Then it fell to me -- because I had gladly if somewhat naively volunteered to do it -- to make the case for "Why History Matters."

The actual title of my talk was more elaborate, but it was no more ambitious than the daunting task I had before me:  to explain why the study of history matters to somebody besides me, and to do so while standing next to a particularly formidable American intellectual and cultural historian, Daniel Wickberg, who moderated our panel.

I have my reasons for valuing history as I do -- and I spoke about some of those reasons yesterday.  But the argument that the study of history can enrich one's life -- and it certainly can, and it certainly has -- is not sufficient to explain what history has to offer to those outside the ivied walls of the ivory tower.

What is the cultural value of being a historian?  Why should the academy continue to train historians?  Beyond the self-perpetuation of the profession, what does that get us?

Training scholars to think historically gets us people who can wade into the contentious conversations in the public sphere while retaining -- and modeling -- some sense of irony and perhaps the faintest bit of humility about the limits of one's own understanding. We get, in other words, people who would (ideally) offer a different model of discourse besides the rhetoric of righteous indignation and moral or political absolutism that is constantly swirling around us.

That was the basic argument of my paper.  Keep in mind that I was explaining "thinking historically" to an audience of people who were coming from other disciplines in the humanities.  I used my own struggle to contextualize the radical abolitionism of William Lloyd Garrison as a way of framing my discussion.  So here's a slightly revised version of part of my argument, which includes some references to discussions taking place on this blog:

This effort to suspend judgment in favor of understanding is part of what it means to "think historically."  It's hard to do.  But it is a disciplinary and self-disciplinary hallmark of historians.  This professional self-discipline, Thomas Haskell explains, "requires detachment":  the ability to "suspend or bracket one's own perceptions long enough to enter sympathetically into the alien and possibly repugnant perspectives of rival thinkers,...to achieve some distance from one's own spontaneous perceptions and convictions, to imagine how the world appears in another's eyes, to experimentally adopt perspectives that do not come naturally."[1]  And, I would argue, the most unnatural perspective of all is to recognize that our own mental conception of the world -- whether it's the idea that slavery is wrong, or the idea that historians ought to approach their subjects with some measure of detachment -- is not a timeless truth; our moral and mental conceptions are ideas, and they too have a history of their own.

Keeping the history of our own mental framework in mind even as we write history practically forces us to embrace some sense of disciplinary humility.  We do our best work when we keep front and center "a conception of the limits of historical knowledge."[2] Instead of a totalizing grand narrative, or grandiose explanatory claims, historians attentive to the limitations of our own discipline would (ideally) write, Allan Megill suggests, with a "greater humility and reflexiveness with regard to the interpretation of the past" -- a "self-ironic style."[3]  This is the practice of history as a sort of tonic of humility -- an ironic self-awareness that we must not be self-righteous in our own certainties.   

Irony. Humility. Detachment.  This is what history has to offer. 

This is what history has to offer?  Oh, how the mighty have fallen!  But it is, I would argue, a fortunate fall -- though not all historians have made the leap.  Indeed, one of my colleagues on the U.S. Intellectual History blog is concerned that I seem to have lost a sense of the heuristic purpose of doing history:  to draw from the particular circumstances of the past some generally applicable principles for the present.  "Isn't that part of how we learn from history," my colleague asked me in a recent blog comment, "learn to avoid the mistakes of the past? Or," he continued, "are you a postmodernist such that you see these applications as overwrought with hazards? How do you talk truth with those who come to history seeking SOME limited universal truths? How do you sell historical thinking if you disallow present applications?"[4]  It's a fair question.  After all, I had been saying there -- and I am saying here -- that "when history veers into a discussion of what is true in a transhistorical or 'timeless' sense, it ceases to be history."[5]

Indeed, "timeless" and "historical" don't really go together. 

Instead, what history can offer is a careful, attentive, thick if not thorough interpretation of a particular past context.  The point of such interpretation is not to distill some lesson that will help us "avoid the mistakes of the past"; because time is on the move, the mistakes of the past are unrepeatable.  That's one of the implications of contingency:  each present moment is the product of innumerable choices made and chances taken by others.  So history can't repeat itself; we are wonderfully free to make new mistakes now.  How's that for a liberated future? 

That's a very liberated future.  In his famous -- and much assigned -- essay, "The Burden of History," Hayden White describes how foregrounding contingency frees up the future.  History has the "special task" of bringing people to "an awareness that their present condition was always in part a product of specifically human choices, which could therefore be changed or altered by further human action."[6]  As George Cotkin affirms, "we are born into structures of power and culture that constrain us.  But, at the same time," he continues, "we retain a degree of agency that may assimilate or change those structures to varying degrees."[7]  Intellectual history in particular foregrounds the way that such structuring ideas shape not only the world that people are born into but also the very conceptual limits of how they can imagine reacting against that world.  Grasping this dynamic -- getting some sense of the sheer weight of what people have to wade through to ever think differently about anything -- makes it easier to view individual people, past and present, with less judgment and more understanding.

...

So our job as historians is to speak to our time, to speak to our culture, by speaking faithfully about the past.

The historian's task is simple:  to reconstruct a moment, or a series of moments, from the past, and to hold that past up to view not so that we might commend or condemn it, but so that we might understand it.  That exercise -- the demonstration of how to suspend judgment in favor of understanding -- repeated again and again, defines both the process and the product of history faithfully practiced.  Leading others through that exercise with us is the pedagogical, the scholarly, and -- in a certain sense -- the pastoral work of  secular historians.  We must leave to our historical subjects the harsh and uncompromising and proudly immoderate rhetoric of moral absolutism.  Let Garrison thunder like a prophet, and let us hear him in the context of his time.  Ironically, in the context of our time, to demonstrate ironic detachment and some sense of humility about our own habitual [historical?] certainties is, in its own way, profoundly prophetic.
--------------------
[1]Thomas L. Haskell, "Objectivity is not Neutrality: Rhetoric vs. Practice in Peter Novick's That Noble Dream," History and Theory, Vol. 29 No. 2 (May, 1990), 132.
[2]Allan Megill, Historical Knowledge, Historical Error: A Contemporary Guide to Practice (Chicago: University of Chicago Press, 2007), 56.
[3]Megill 186.
[4]Tim Lacy, March 15, 2012 (10:35 a.m.), comment on Tim Lacy, “Tim's Light Reading (3-15-2012): Gretel Adorno, Richard Theodore Greener, Ontics, Defending First Principles, and Tony Judt via Jennifer Homans,” U.S. Intellectual History, March 15, 2012, http://us-intellectual-history.blogspot.com/2012/03/tims-light-reading-3-15-2012-gretel.html.
[5]L.D. Burnett, March 15, 2012 (9:15 a.m.), comment on Lacy, "Light Reading (3-15-2012)."
[6]Hayden White, "The Burden of History," History and Theory, Vol. 5, No. 2 (1966), 133.
[7]George Cotkin, "History's Moral Turn," Journal of the History of Ideas, Volume 69, No. 2 (April 2008), 305.

Kamis, 15 April 2010

A nice bit of interdisciplinarity--The Rites of Spring

While on a university committee a couple of years ago, I read numerous criticism and praise of interdisciplinary research and teaching, but I found concrete examples of it excellently performed much less available. So when my off-time radio listening crossed my academic world a few months ago in this very promising bit of interdisciplinarity, I got very excited.

Let me introduce the event in question. Both Modris Eksteins' The Rites of Spring: The Great War and the Birth of the Modern Age and Radio Lab's episode "Musical Language" try to explain the violent riots that occurred in Paris following the first performance of Igor Stravinsky's ballet "The Rites of Spring" in May 1913. Elegant concert goers jumped out of their seats and started throwing things. Someone off to the side of the stage had to yell the count of the dance, because the dancers could not hear the music over the screaming of the crowd. The riots turned into wide acceptance of the second performance less than a year later, March 1914. The music used new combination of notes that did not reconcile like all previous music. The ballet illustrated a virginal sacrifice and used movements borrowing from societies that later fed the "primitive" vogue in Europe after WWI. The dancers movements were not all elegant.

Eksteins uses the ballet as a case study/metaphor for the historical and political transition into the Modern Age and to do a cultural study of Germans, the British, and the French (and to some extent the Americans) as they entered WWI. RadioLab suggests that brain chemistry--what goes on in the brain when it hears discordant notes--could explain the rioting and that physiological changes in the brain that may have made a Parisian audience ready to hear and love Stravinsky's symphony nine months after their riots.

RadioLab discusses a connection between music and emotion. Mark Jude Tramo, a neuroscientist at Harvard, listens to electricity that runs from the ear to the brain in response to a sound. Even and regular meter of the electricity arrives in our mind as something we like (consonant). If the electricity is in an irregular, jagged meter it is heard by our brain as something we don't like (dissonant). What we find pleasant and unpleasant is malleable. While the audience rioted in response to the music at the first performance of The Rites of Spring, by the second concert, Parisians knew what to expect. The science writer Jonah Lehrer interprets this difference for RadioLab based upon the way the dissonant sounds acted on the audience's brain trained by 19th century Romanticism. When we hear noises we've never heard before, dissonant chords "illicit wild fluctuations in brain activity" (Jan Fischman, neuroscientist). Gangs of neurons, the new noise department, get very agitated by dissonant chords and their job is to dissect and understand new noises. Every so often they fail, like they did that night, failing over and over b/c the Rite of Spring is dissonant all the way through. Chemical consequences in the brain--the release of a lot of dopamine--means that the euphoria turns literally into schizophrenia. People went mad because the music made the neurons fail to order it, releasing too much dopamine, driving the audience crazy.

During the second concert, the audience was ready to hear the patterns that Stravinsky had hidden within the music. The audience carried Stravinsky out of the theater on their shoulders. The response by the audience and the press was glowing the second time. Neurons learned and adjusted.

In his 1989 text, Modris Eksteins offers a very different interpretation, using history, politics, and culture rather than the processes of individual brains. (I'm going to offer several quotes, because I love Eksteins' writing and because it's been several years since I read the text).

The book was then at the vanguard of cultural history and reception studies (and offers a very powerful template for them):
In modern society, as this book will argue, the audience for the arts, as for hobbits and heroes, is for the historian an even more important source of evidence for cultural identity than the literary documents, artistic artifacts, or heroes themselves. The history of modern culture ought then to be as much a history of response as of challenge, an account of the reader as of the novel, of the viewer as of the film, of the spectator as of the actor.

He writes that there were two factions ready to war in the audience:
Of the crowd of aesthetes, whether becapped or hirsute, who attended this and similar events Cocteau said that ‘they would applaud novelty at random simply to show their contempt for the people in the boxes.’ In short, a readymade cheering section ws present, prepared to do battle against sterility. ...

To turn ballet, the most effervescent and fluid of art forms, into grotesque caricature was to insult good taste and the integrity of the audience. That was the attitude of the opposition. It felt offended. It jeered. Applause was the response of the defenders. And so the battle was joined...

Personal insults were certainly exchanged; probably some punches, too; maybe cards, to arrange a semblance of satisfaction afterward....

A countess supposed exclaimed “I am sixty years old and this is the first time anyone has dared to make fun of me...

Of outrage and excitement there was plenty. Indeed, there was such a din that the music may have been almost drowned out at times.

But drowned out completely? Some reports leave the impression that no one, apart from the musicians in the orchestra nd Pierre Monteaux, the conductor, heard the music after the opening bars—not even the dancers....

Where does all this confusion [of reporting] leave us? Is there not sufficient evidence to suggest that the trouble was caused more by warring factions in the audience, by their expectations, their prejudices, their preconceptions about art, than by the work itself? The work, as we shall see, certainly exploited tensions but hardly caused them. The descriptions of the memoirists and even the accounts of the critics are immersed in the scandale rather than the music and ballet, in the even rather than the art. None of the witnesses ever mentions the rest of the program that first evening…
Thus Eksteins says that the work was a catalyst for already existing societal stressors and the work itself (or what it did to individual brains) did not cause the riot at all.

the response of the audience was and is as important to the meaning of this art as the intentions of those who introduced it. Art has transcended reason, didacticism, and a moral purpose: art has become provocation and event.

Thus, Jean Cocteau, who in his staccato prose—which corresponds so well with the percussive diction of Le Sacre—has given us many of our lasting images of that opening night, did not hesitate to admit that he was more concerned with ‘subjective’ than ‘objective’ truth; in other words, with what he felt, what he imagined, not with what actually occurred.”

Where does the fiction end and the fact begin? That boisterous evening rightly stands as a symbol of its era and as a landmark of this century. From the setting in the newly constructed, ultramodern Theatre des Champes-Elysees, in Paris, through the ideas and intentions of the leading protagonists, to the tumultuous response of the audience, that opening night of Le Sacre represents a milestone in the development of ‘modernism,’ modernism as above all a culture of the sensational event, through which art and life both become a matter of energy and are fused as one. Given the crucial significance of the audience in this culture, we must look at the broader context of Le Sacre.


Hmmm, where does that leave us? Does having both interpretations of the event make our own understanding larger or does one threaten to undermine the other?

A nice bit of interdisciplinarity--The Rites of Spring

While on a university committee a couple of years ago, I read numerous criticism and praise of interdisciplinary research and teaching, but I found concrete examples of it excellently performed much less available. So when my off-time radio listening crossed my academic world a few months ago in this very promising bit of interdisciplinarity, I got very excited.

Let me introduce the event in question. Both Modris Eksteins' The Rites of Spring: The Great War and the Birth of the Modern Age and Radio Lab's episode "Musical Language" try to explain the violent riots that occurred in Paris following the first performance of Igor Stravinsky's ballet "The Rites of Spring" in May 1913. Elegant concert goers jumped out of their seats and started throwing things. Someone off to the side of the stage had to yell the count of the dance, because the dancers could not hear the music over the screaming of the crowd. The riots turned into wide acceptance of the second performance less than a year later, March 1914. The music used new combination of notes that did not reconcile like all previous music. The ballet illustrated a virginal sacrifice and used movements borrowing from societies that later fed the "primitive" vogue in Europe after WWI. The dancers movements were not all elegant.

Eksteins uses the ballet as a case study/metaphor for the historical and political transition into the Modern Age and to do a cultural study of Germans, the British, and the French (and to some extent the Americans) as they entered WWI. RadioLab suggests that brain chemistry--what goes on in the brain when it hears discordant notes--could explain the rioting and that physiological changes in the brain that may have made a Parisian audience ready to hear and love Stravinsky's symphony nine months after their riots.

RadioLab discusses a connection between music and emotion. Mark Jude Tramo, a neuroscientist at Harvard, listens to electricity that runs from the ear to the brain in response to a sound. Even and regular meter of the electricity arrives in our mind as something we like (consonant). If the electricity is in an irregular, jagged meter it is heard by our brain as something we don't like (dissonant). What we find pleasant and unpleasant is malleable. While the audience rioted in response to the music at the first performance of The Rites of Spring, by the second concert, Parisians knew what to expect. The science writer Jonah Lehrer interprets this difference for RadioLab based upon the way the dissonant sounds acted on the audience's brain trained by 19th century Romanticism. When we hear noises we've never heard before, dissonant chords "illicit wild fluctuations in brain activity" (Jan Fischman, neuroscientist). Gangs of neurons, the new noise department, get very agitated by dissonant chords and their job is to dissect and understand new noises. Every so often they fail, like they did that night, failing over and over b/c the Rite of Spring is dissonant all the way through. Chemical consequences in the brain--the release of a lot of dopamine--means that the euphoria turns literally into schizophrenia. People went mad because the music made the neurons fail to order it, releasing too much dopamine, driving the audience crazy.

During the second concert, the audience was ready to hear the patterns that Stravinsky had hidden within the music. The audience carried Stravinsky out of the theater on their shoulders. The response by the audience and the press was glowing the second time. Neurons learned and adjusted.

In his 1989 text, Modris Eksteins offers a very different interpretation, using history, politics, and culture rather than the processes of individual brains. (I'm going to offer several quotes, because I love Eksteins' writing and because it's been several years since I read the text).

The book was then at the vanguard of cultural history and reception studies (and offers a very powerful template for them):
In modern society, as this book will argue, the audience for the arts, as for hobbits and heroes, is for the historian an even more important source of evidence for cultural identity than the literary documents, artistic artifacts, or heroes themselves. The history of modern culture ought then to be as much a history of response as of challenge, an account of the reader as of the novel, of the viewer as of the film, of the spectator as of the actor.

He writes that there were two factions ready to war in the audience:
Of the crowd of aesthetes, whether becapped or hirsute, who attended this and similar events Cocteau said that ‘they would applaud novelty at random simply to show their contempt for the people in the boxes.’ In short, a readymade cheering section ws present, prepared to do battle against sterility. ...

To turn ballet, the most effervescent and fluid of art forms, into grotesque caricature was to insult good taste and the integrity of the audience. That was the attitude of the opposition. It felt offended. It jeered. Applause was the response of the defenders. And so the battle was joined...

Personal insults were certainly exchanged; probably some punches, too; maybe cards, to arrange a semblance of satisfaction afterward....

A countess supposed exclaimed “I am sixty years old and this is the first time anyone has dared to make fun of me...

Of outrage and excitement there was plenty. Indeed, there was such a din that the music may have been almost drowned out at times.

But drowned out completely? Some reports leave the impression that no one, apart from the musicians in the orchestra nd Pierre Monteaux, the conductor, heard the music after the opening bars—not even the dancers....

Where does all this confusion [of reporting] leave us? Is there not sufficient evidence to suggest that the trouble was caused more by warring factions in the audience, by their expectations, their prejudices, their preconceptions about art, than by the work itself? The work, as we shall see, certainly exploited tensions but hardly caused them. The descriptions of the memoirists and even the accounts of the critics are immersed in the scandale rather than the music and ballet, in the even rather than the art. None of the witnesses ever mentions the rest of the program that first evening…
Thus Eksteins says that the work was a catalyst for already existing societal stressors and the work itself (or what it did to individual brains) did not cause the riot at all.

the response of the audience was and is as important to the meaning of this art as the intentions of those who introduced it. Art has transcended reason, didacticism, and a moral purpose: art has become provocation and event.

Thus, Jean Cocteau, who in his staccato prose—which corresponds so well with the percussive diction of Le Sacre—has given us many of our lasting images of that opening night, did not hesitate to admit that he was more concerned with ‘subjective’ than ‘objective’ truth; in other words, with what he felt, what he imagined, not with what actually occurred.”

Where does the fiction end and the fact begin? That boisterous evening rightly stands as a symbol of its era and as a landmark of this century. From the setting in the newly constructed, ultramodern Theatre des Champes-Elysees, in Paris, through the ideas and intentions of the leading protagonists, to the tumultuous response of the audience, that opening night of Le Sacre represents a milestone in the development of ‘modernism,’ modernism as above all a culture of the sensational event, through which art and life both become a matter of energy and are fused as one. Given the crucial significance of the audience in this culture, we must look at the broader context of Le Sacre.


Hmmm, where does that leave us? Does having both interpretations of the event make our own understanding larger or does one threaten to undermine the other?

Selasa, 20 Oktober 2009

Lauren's Light Listening and a thought on Interdisciplinarity

I'm a Podcast junky. They are a great way to get through my commute, house cleaning, and exercise. Also, a good way to try to sate the insatiable curiosity about everything that had to be narrowed down to a subject that would fit a dissertation. Whenever I get excited about something I've listened to, I remember a comment I read when studying interdisciplinarity--that scholars tend to decry the way their own field is treated in the media, but then turn around and rely upon the media to understand other fields.

With that caveat, I'd like to point out this week's Radio Lab about the potential for change in (human) nature. I still remember sitting in Dagmar Herzog's class my second year in grad school, being introduced to the idea that human nature was malleable over time, particularly in the sense that our understanding of it is. So it was interesting to hear Radio Lab, a science show put on by WNYC, take on the idea. The producers depended largely upon evolutionary biologists for their stories. When reading or hearing about evolutionary biology, my historian's backbone always stiffens a bit. That field seems to ignore human history in order to connect the impulses of our ape or hunter gather ancestors to our compulsions today.

Yet I wonder what a project connecting a historical perspective on human nature with an evolutionary biologist's would look like.

Daniel Wickberg in his Historically Speaking essay mentioned the different fields with which intellectual history works well:

Intellectual historians often find themselves in dialogue with those at the margins of other disciplines: the philosophers who are less interested in analytical philosophy and more interested in the history of philosophy; the political scientists who study the history of political theory; the self-reflexive anthropologists; the sociologists of ideas and intellectuals; the literary scholars of discourse.
It would be good for us to keep this in mind as we try to expand the influence of this blog, and maybe even seek out radically different fields interested in similar questions.

Lauren's Light Listening and a thought on Interdisciplinarity

I'm a Podcast junky. They are a great way to get through my commute, house cleaning, and exercise. Also, a good way to try to sate the insatiable curiosity about everything that had to be narrowed down to a subject that would fit a dissertation. Whenever I get excited about something I've listened to, I remember a comment I read when studying interdisciplinarity--that scholars tend to decry the way their own field is treated in the media, but then turn around and rely upon the media to understand other fields.

With that caveat, I'd like to point out this week's Radio Lab about the potential for change in (human) nature. I still remember sitting in Dagmar Herzog's class my second year in grad school, being introduced to the idea that human nature was malleable over time, particularly in the sense that our understanding of it is. So it was interesting to hear Radio Lab, a science show put on by WNYC, take on the idea. The producers depended largely upon evolutionary biologists for their stories. When reading or hearing about evolutionary biology, my historian's backbone always stiffens a bit. That field seems to ignore human history in order to connect the impulses of our ape or hunter gather ancestors to our compulsions today.

Yet I wonder what a project connecting a historical perspective on human nature with an evolutionary biologist's would look like.

Daniel Wickberg in his Historically Speaking essay mentioned the different fields with which intellectual history works well:

Intellectual historians often find themselves in dialogue with those at the margins of other disciplines: the philosophers who are less interested in analytical philosophy and more interested in the history of philosophy; the political scientists who study the history of political theory; the self-reflexive anthropologists; the sociologists of ideas and intellectuals; the literary scholars of discourse.
It would be good for us to keep this in mind as we try to expand the influence of this blog, and maybe even seek out radically different fields interested in similar questions.