Abstract
“Genius” is a seductive term and slippery too—used often, and frequently abused. Motivational speakers, magazine editors, and the authors of inspirational biographies have certainly grasped its appeal, to say nothing of the hopeful parents of tiny potential Mozarts, Austens, and Einsteins. But though genius’s allure helps to keep it in the public eye, popular fascination has tended to put scholars on guard. The late French philosopher Jacques Derrida acknowledged as much when he dared to broach the subject at a formal gathering among scholars in 2003. “In according the least legitimacy to the word ‘genius,” he confessed, “one is considered to sign one’s resignation from all fields of knowledge … This noun ‘genius,”’ he added, “makes us squirm.”1 Some academic observers have doubted whether a word so commonly used can possess genuine meaning or intellectual merit. Others have worried about its associations with discredited theories of human superiority and inferiority. Social scientists and psychologists, meanwhile, respond by attempting to pin down the criteria of genius with greater rigor, hoping to detect its presence and understand its spread among populations for the benefit of humanity. As the psychologist Lewis Terman, a key architect of the IQ exam, put it in his landmark Genetic Studies of Genius (1925), “The origins of genius, [and] the natural laws of its development are scientific problems of almost unequaled importance for human welfare.”2
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Notes
Jacques Derrida, Geniuses, Genealogies, Genres, & Genius: The Secrets of the Archive, trans. Beverley Bie Brahic (New York: Columbia University Press, 2006), 3–4.
Lewis M. Terman, ed., Genetic Studies of Genius, 5 vols. (Palo Alto, CA: Stanford University Press, 1925–1959), 1: v.
The seminal study is Edgar Zilsel’s Die Entstehung des Geniebegriffes: Ein Beitrag zur Ideengeschichte der Antike und des Frühkapitalismus (Tübingen: J. C. B. Mohr, 1926). See also Penelope Murray, ed., Genius: The History of an Idea (Oxford: Blackwell, 1989);
Norbert Elias, Mozart: Portrait of a Genius, ed. Michael Schröter (Berkeley: University of California Press, 1993);
Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803 (Berkeley: University of California Press, 1995);
Jochen Schmidt, Die Geschichte des Genie-Gedankens in der deutschen Literatur, Philosophie und Politik, 1750–1945, 2 vols. (Heidelberg: Universitätsverlag, 2004). Most recently, the two editors of this volume have published studies on the subject:
Joyce E. Chaplin, The First Scientific American: Benjamin Franklin and the Pursuit of Genius (New York: Basic Books, 2006);
Darrin M. McMahon, Divine Fury: A History of Genius (New York: Basic Books, 2013).
The story of the transmutation of the ancient genii into Christian and modern forms of spiritual guardians is told in McMahon, Divine Fury, esp. chs. 1–2. See also Jane Chance Nitzsche, The Genius Figure in Antiquity and the Middle Ages (New York: Columbia University Press, 1975), and
Jean-Patrice Boudet, Philippe Faure, and Christian Renoux, eds., De Socrate à Tintin: Anges gardiens et démons familiers de l’Antiquit é à nos jours (Rennes: Presses Universitaires de Rennes, 2011).
Robert Cawdrey, A Table Alphabeticall of Hard Usual English Words (1604), a facsimile reproduction with an introduction by Robert A. Peters (Gainesville, FL: Scholars’ Facsimiles and Reprints, 1966), 61.
On ingenium and the fusion of genius and ingenium, see Zilsel, Die Enstehung des Geniebegriffes, 265–96; Harald Weinrich, “Ingenium,” in Historisches Wörterbuch der Philosophie, ed. Joachim Ritter, 13 vols. (Basel: Schwabe, 1971–2007), 4: 36–63, and the discussion in the text and appendix of ingenium in
Patricia Emison’s Creating the “Divine” Artist: From Dante to Michelangelo (Leiden: Brill, 2004).
See Chaplin, First Scientific American, 1–3, 134–36; 342; Fred Inglis, A Short History of Celebrity (Princeton, NJ: Princeton University Press, 2010), 37–73;
McMahon, Divine Fury, ch. 3, and Jonathan Bates, The Genius of Shakespeare (New York and Oxford: Oxford University Press, 1998), esp. ch. 6 (“The Original Genius”).
References to the extensive literature on the perceived connection between genius and madness will be found in the essays that follow. A somewhat dated, but still essential, place to begin for the modern period is George Becker, The Mad Genius Controversy: A Study in the Sociology of Deviance (London: Sage, 1978).
Antoine Lilti, Figures publiques: Aux origines de la célébrité (1750–1850) (Paris: Fayard, 2014), and
David Higgins, Romantic Genius and the Literary Magazine: Biography, Celebrity, and Politics (Milton Park, UK: Routledge, 2005).
McMahon, Divine Fury, ch. 5. On the fascination with the brains of geniuses, see Michael Hagner’s excellent Geniale Gehirne: Zur Geschichte der Elitegehirnforschung (Munich: Deutscher Taschenbuch, 2007).
Edgar Zilsel, Die Geniereligion: Ein kritischer Versuch über das moderne Persönlichkeitsideal, intro. Johann Dvorak (Frankfurt: Suhrkamp, 1990 [1917]);
Nathalie Heinich, The Glory of Van Gogh: An Anthropology of Admiration, trans. Paul Leduc Browne (Princeton, NJ: Princeton University Press, 1996);
Julia Barbara Köhne, Geniekult in Geisteswissenschaften und Literaturen um 1900 und seine filmischen Adaptionen (Wien: Böhlau Verlag, 2014).
Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958), 210–11.
For a broad overview of scholarly (and other) attempts to study genius, see Darrin M. McMahon, “Where Have All the Geniuses Gone?,” The Chronicle Review, October 21, 2013.
See, for example, Hans Jürgen Eysenck, Genius: The Natural History of Creativity (Cambridge: Cambridge University Press, 1995), or the prolific body of work on genius and creativity by the psychologist Dean Keith Simonton.
A notable exception is Harold Bloom, Genius: A Mosaic of One Hundred Exemplary Creative Minds (New York: Warner Books, 2002).
Noteworthy examples of this literature include Christine Battersby, Gender and Genius: Towards a Feminist Aesthetics (Bloomington: Indiana University Press, 1989);
Andrew Elfenbein, Romantic Genius: The Prehistory of a Homosexual Role (New York: Columbia University Press, 1999);
Barbara Will, Gertrude Stein and the Problem of “Genius” (Edinburgh: University of Edinburgh Press, 2000);
Peter Kivy, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius (New Haven, CT: Yale University Press, 2001).
In addition to the historical works already cited, see Kathleen Kete, Making Way for Genius: The Aspiring Self in France from the Old Regime to the New (New Haven, CT: Yale University Press, 2012);
Eliyahu Stern, The Genius: Elijah of Vilna and the Making of Modern Judaism (New Haven, CT: Yale University Press, 2013);
Patricia Fara, Newton: The Making of a Genius (New York: Columbia University Press, 2002).
For a discussion of the role of commerce, see John Hope Mason, The Value of Creativity: The Origins and Emergence of a Modern Belief (Burlington, VT: Ashgate, 2003), esp. chs. 4–6. On commerce and religion, see McMahon, Divine Fury, esp. 5–6, 71–75.
See, for example, Mark Rose, Authors and Owners: The Invention of Copyright (Cambridge, MA: Harvard University Press, 1983);
Martha Woodmansee, “The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author,’” Eighteenth-Century Studies 17 (1984): 425–48;
Zeynep Tenger and Paul Trolander, “Genius versus Capital: Eighteenth-Century Theories of Genius and Adam Smith’s Wealth of Nations,” Modern Language Quarterly 55 (1994): 169–89;
Carla Hesse, “The Rise of Intellectual Property, 700 B.C.–A.D. 2000: An Idea in the Balance,” Daedalus 131 (2002): 26–45.
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Chaplin, J.E., McMahon, D.M. (2016). Introduction. In: Chaplin, J.E., McMahon, D.M. (eds) Genealogies of Genius. Palgrave Studies in Cultural and Intellectual History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137497673_1
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