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Imaginative Participation in History

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Imaginative Participation
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Abstract

The “facts” of history, except for rare survivals from the past, are the facts of meaning much more than the facts of objective actuality. The history of the historians is not that of the past “as it actually hap­pened” (“wie es eigentlich gewesen”, Ranke) because human imagination is incapable of such re-creation. History is rather a process of examining records and survivals, and secondly, a way of “presenting the results of their imaginative reconstruction of that past in ways that do no violence either to the records or to the canons of scientific imagination... For the actual past places a limit upon both the records and the kinds of imagination he may use. He must be sure that his records really do come from the past and that his imagination is directed toward re-creation and not creation” (L. Gottschalk).1

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  69. Marxists become the victims of the very alienation they claim to understand so well when they reverse this procedure and make experience dependent upon what is originally only a creation of the mind. When Tawney writes that Puritanism is the “magic mirror” in which the middle-class man saw himself ennobled and enhanced, he is in no sense enlightening us as to the historical process by which Puritanism developed and spread. For the Puritan is a real man, who can be encountered in history. But the middle-class man is made up, and it is sheer anachronism to describe him as a historical figure, articulate, already in search of an enhanced image. It has been suggested above that Puritanism is a part of the process (the long succession of perceptions and responses) by which men become middle-class. But to know the particular perception upon which it is based or the responses it prescribes, it is neces­sary to know the Puritan. There is, in fact, no magic mirror; sainthood is no mere enhancement of an already established (even if worrisome) identity. It is a far more active thing than that; it is indeed what Weber suggests — a way of forming an iden­tity.

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  70. What must be studied, then,is a mind, or a group of minds, coping with problems, and not passively reflecting them. For the mind mediates between the “objective” situ­ation and the human act and if the act is to be understood, the mind must first be known. The problems it faces are posed by an environment which can of course be analyzed in some objective fashion—for example, statistically. But different aspects of this environment are experienced by different men with different results in consciousness and behaviour. Hence the “objective” construct is of no independent value and has no prior significance in explanation. The first task of the historian is to establish his familiarity with the experience of particular men, with their difficulties,aspirations and achievements, and with the styles in which all these are expressed. This is not to suggest that the historical record should be taken at face value, or the assumption casually made that men always mean what they say. There is, for example, false piety and evasion among the saints which the historian must expose. There is caution and conformity which he must respect, but not too much. For hindsight is also insight into the concealments of respectability and of “Aesopian” prose; and it is often insight as well into purposes half-understood and patterns of thought not yet fully worked out. Hence the methods of the historian must be sceptical, devious and expe­rimental, even while his general approach is open and sympathetic. But ultimately his sympathy is the key to all else: the best judgment of face value will be made by men with some intuitive understanding of other levels of thinking and feeling“. (Ibid., pp. 75, 76. Emphasis added)

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  80. Changes in modern painting reflect the changes of method and technique in literature. See W. Sypher, op. cit. In Berkhofer’s view the portrait of modern Clio should be very close to Picasso’s “Girl Before a Mirror”, a painting which combines the views of the girl’s internal states of mind with different external views of her, and with that girl viewing her own reflection in a mirror (R.F. Berkhofer, op. cit., p. 296). Picasso’s artistic intention, based on a sophisticated intellectual position, reminds us of the “stream-of-consciousness” method (or “interior monologue”) of modern innovative novelists (J. Joyce, V. Woolf, the early W. Faulkner), concentra­ting upon a direct and dramatic presentation of the whole of consciousness. The ideas underlying their method and technique have much in common with those of W. James who coined the term “stream of consciousness” in his Principles of Psychology, of Cooley, Mead and others.

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Baumann, B. (1975). Imaginative Participation in History. In: Imaginative Participation. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-4871-1_7

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  • DOI: https://doi.org/10.1007/978-94-017-4871-1_7

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