Plato uses a variety of literary devices to convey philosophical meaning — notably the dialogue form itself, but also the Platonic myths, which resemble traditional myths in form, but are deliberately constructed to make a point. In a contemporary context, Robert Brandom practices a kind of historical storytelling about the development of concepts of normativity.
Brandom’s recently published Spinoza lectures help fill out the picture of his own work, by critically reflecting on his teacher Richard Rorty’s relation to the tradition of American pragmatism, as well as to Hegel. The title of the first lecture, “Pragmatism as Completing the Enlightenment: Reason Against Representation”, well indicates its scope. Brandom is at pains to portray Rorty, “the quintessential anti-essentialist”, as a serious defender of reason.
We see here the apparent origin of Brandom’s preoccupation with the stories that we tell ourselves to anchor and orient our sense of meaning. He purposely gives pride of place to such informal orienting stories, over formal theories that are supposed to straightforwardly represent reality. This is part of his way of carrying forward Hegel’s sharp critique of the idea that concepts are fixed once and for all in representation. Hegel himself talks about the “life” and “liveliness” of things that qualify as genuine concepts in his sense.
(It is an interesting historical paradox that Aristotle — one of the figures with whom the Latin term “essence” is most strongly associated — broadly agrees with modern anti-essentialism. ”Essentialism” as understood in contemporary discourse is partly a later development, and partly a product of bad historiography.)
Brandom says that at the end of Rorty’s Philosophy and the Mirror of Nature, “in a phrase he came not only to reject, but to regret, he prophesied the ‘death of philosophy'” (p. 2). By that Rorty mainly meant the enterprise of 20th century analytic philosophy, but also the Kantian preoccupation with epistemology and strict warrants for belief.
“[T]he new kind of pragmatism with which Rorty proposed to replace that sort of philosophy is evidently and avowedly Hegelian in spirit — albeit inspired by the naturalized (but still social and historical) form of Hegelianism he admired in Dewey and self-consciously emulated in his own work” (ibid).
Brandom continues, “Later, Rorty would applaud the broadly naturalistic, sociological, historicist impulse he saw Hegel as having bequeathed to the nascent nineteenth century, and speculate about how much further we might have gotten by now if at the end of that century Russell and Husserl had not, each in his own way, once again found something for philosophers to be apodeictic about, from their armchairs” (pp. 2-3).
“Apodeictic” was a favorite term of Husserl’s, referring to the certain knowledge he believed to be achievable by following his phenomenological method. Russell is considered by many to be the founder of analytic philosophy. A great champion of modern science and a pioneer of mathematical logic, he was hostile to what he called speculation in philosophy. Old mainstream analytic philosophy and Husserlian phenomenology both make foundationalist claims of certain knowledge, and they both owe something to Kant’s distinctive emphasis on the theory of knowledge as coming before a direct account of things. (Although I do not regard Kant as a foundationalist, some of his rhetoric could be read that way). According to Brandom, Rorty presents these 20th century ambitions as a retrograde development compared to Hegel.
Hegel’s great lesson, on Rorty’s Deweyan view according to Brandom, lies in his storytelling. (I would note that Hegel himself also makes claims of strong knowledge, even though he is an anti-foundationalist.) This is fascinating to me, because I have come to know Brandom as emphasizing this kind of storytelling, and I wondered where it came from, because it seemed to only very partially fit Hegel. Where Hegel himself is concerned, I think storytelling is an interesting theme, but (I find myself spontaneously saying) making it the theme throws out way too much of what Hegel is doing.
In the case of Brandom himself, I would not at all say that his main strength is his historical storytelling. It is other aspects of his work that make him a contemporary giant — the inferentialism, the mutual recognition ethics, the developed account of the “historical fine structure” of the genealogy of normativity, and so on. I think Brandom overemphasizes telling a particular story, and at the same time the particular stories he tells are a bit historically shallow. Paul Ricoeur has a much richer meta-level account of the distinctive aspects of narrative as compared to ordinary assertion, and puts less emphasis on particular stories.
I think of the storytelling that Brandom invokes as one way of expressing results of interpretation. I prefer to focus on the process of interpretation, before everything is decided.
“Rorty’s idea of the form of a justification for a recommendation of a way forward always was a redescription of where we have gotten to, motivated by a Whiggish story about how we got there that clearly marks off both the perils already encountered and the progress already achieved along that path. This is the literary genre of which Rorty is an undisputed master” (p. 3, emphasis in original).
The Whigs were a liberal political party in Enlightenment Britain, famous for promoting belief in the linear forward march of historical progress. Brandom contrasts an optimistic “Whiggish” genealogy with what Paul Ricoeur calls the hermeneutics of suspicion, associated with Nietzsche, Marx, and Freud. Ricoeur, though, is far from simply condemning the “suspicious” point of view, and even says it is a necessary complement to the more affirmative approach he wants to emphasize.
Brandom quotes Rorty’s reminiscence of his undergraduate days, “Hegel’s Phenomenology of Spirit, Whitehead’s Adventures of Ideas, and Lovejoy’s The Great Chain of Being gave me a taste for ambitious, swooshy, Geistesgeschichte [cultural history, literally “history of spirit”] that I never lost” (ibid).
I am well familiar with the experience of reading Hegel at the “swooshy” level, and would certainly acknowledge that historical storytelling is a valuable literary device that I too often use to make a point. But H.S. Harris’ monumental Hegel’s Ladder reconstructs the fine grain of Hegel’s argument in the Phenomenology, paragraph by paragraph, with great success. And albeit at a much higher level, more recently Robert Pippin has even reconstructed what is at stake in the argument of Hegel’s Logic.
Brandom himself impresses me for the exemplary thoroughness of his own detailed arguments, not the quality of his stories. But he clearly has a soft spot for Rortyan stories. Although I tell such stories myself as part of a necessary pedagogy, I’m very concerned on the other hand not to lose the fine grain of the twists and turns and transformations and reversals that make up history. I don’t give my own stories any higher status than Platonic “likely stories”.
Of the three works Rorty mentions in the quote, Hegel’s Phenomenology is among the most important books ever written. By contrast, Whitehead’s Adventures (1933) is a only a minor classic. Lovejoy’s Great Chain (1936) is a shallow popular work of the 20th century that oversimplifies and badly misrepresents the philosophical thought of the middle ages, about which scholarship has vastly improved since it was written. But mentioning the three together suggests that Rorty is taking a lowest common denominator approach, as if the main point of all three were the telling of simplified stories. Lamentably, Brandom too seems to use Lovejoy as his main source for generalizing about the history of philosophy before the time of the Enlightenment.
Incidentally, Brandom’s view of the Enlightenment seems to be largely based on Jerome Scheewind’s The Invention of Autonomy, whereas mine is particularly influenced by Jonathan Israel’s trilogy Radical Enlightenment (2001), Enlightenment Contested (2006), and Democratic Enlightenment (2011).