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History in Transit: Experience, Identity, Critical Theory, by Dominick LaCapra
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History in Transit comprises Dominick LaCapra's explorations of relationships he believes have been insufficiently theorized: between experience and identity, between history and various theories of subjectivity, between extreme events and their representation, between institutional structures and the kinds of knowledge produced within them. Taken together, these discussions form a dialogical encounter, positing the links among epistemological questions, historicist ones, and issues pertaining to disciplinary and institutional politics.
Reacting against the antitheoretical bias of some prominent historians, LaCapra presents an alternative model of historiographical practice―one in which emphases on plurality and hybridity are combined with the concept of historical experience. For LaCapra experience emerges as a category both theoretically determined and anchored in the facticity of the everyday. LaCapra tests the assumptions and implications of the way one approaches the past by looking to psychoanalysis to render more self-aware the relationship between the historian and his or her material. He offers criticisms of assumptions held by practicing historians and theorists, placing the study of history at the center of a larger argument about the role of the contemporary university.
Contesting both corporatization and claims that the university is in ruins, LaCapra writes, "It is paradoxical that the demand to make the university conform to an ever-increasing extent to a market or business model seems oblivious to the fact that the American university has probably been the most successful of its type in the world, that students from other countries disproportionately desire to study in it."
- Sales Rank: #1451035 in Books
- Brand: Brand: Cornell University Press
- Published on: 2004-04-08
- Original language: English
- Number of items: 1
- Dimensions: 8.92" h x .65" w x 5.90" l, .92 pounds
- Binding: Paperback
- 288 pages
- Used Book in Good Condition
Review
"History in Transit contains ingeniously interrelated explorations of sometimes discussed but insufficiently theorized relationships. While each chapter can stand on its own as a major contribution to its particular subfield, together they constitute the sort of 'dialogical encounter' that the author examines throughout the text."―Scott Spector, University of Michigan-Ann Arbor
"This book provides careful and brilliant readings of important debates in contemporary theory and is a powerful contribution to these debates. Negotiating the tensions between theoretical methods that focus on the sign and marginalize the referent, and those that emphasize the material, non-textual, and traumatic elements of history, Dominick LaCapra astutely delineates 'experience' as a basic and undertheorized concept. In so doing, he shows how experience can enrich existing notions of alterity, transcendence, trauma, ethics, and much of the remaining lexicon of contemporary literary studies."―James Berger, author of After the End: Representations of Post-Apocalypse
About the Author
Dominick LaCapra is Professor Emeritus of History atCornell University. He is the author of many books, includingHistory, Literature, Critical Theory;History and Its Limits: Human, Animal, Violence; andHistory in Transit: Experience, Identity, Critical Theory, all from Cornell.
Most helpful customer reviews
9 of 11 people found the following review helpful.
Are Historians Averse to Theory?
By Etienne RP
According to Dominick LaCapra, historians should spend more time engaging with "theory", defined as "an attempt to understand better what one knows or thinks one know."
His own research on the genocide and post-traumatic experience makes use of concepts borrowed from psychoanalysis. As an example, he refers to transference as "the tendency to repeat in one's own discourse or practice tendencies active in, or projected into, the other or object", such as a ritualistic response to ritual or a fanatical denunciation of religious fanaticism. Or to use another trope, he differentiates between "working through", the positive engagement with trauma that can lead to its ultimate resolution, and "acting out" or compulsively repeating the past.
Engaging with theory also means acquiring a familiar acquaintance with contemporary philosophical texts. This is not an easy task: as the author points out, "one cannot competently read Derrida without having read Freud, Heidegger, Hegel, Husserl, Plato, Aristotle, and quite a few others." Fortunately, younger historians can rely on the work of their predecessors who established bridges between theory and historiography. Besides, according to Dominick LaCapra, the "golden age" of critical theory is now over, and modern authors such as Giorgio Agamben, whose Remnants of Auschwitz: The Witness and the Archive is discussed in one chapter, exhibit a disturbing tendency to move "from high theory to sky-high theory", losing relevance and applicability along the way.
What puzzles me with this book is the aggressiveness of the tone the author uses when discussing authors with whom he disagrees. To take an example with which I am familiar, Dominick LaCapra refers twice to Gerard Noiriel's Sur la "crise" de l'histoire in disparaging terms, accusing him of protecting the French-born Ecole des Annales against foreign and particularly American influences, or even of moving into a direction "in which leftist and neoconservative tendencies may converge." The fact that Noiriel dedicates a chapter to a close discussion of a volume that the author edited two decades ago is not even mentioned, and the detailed critiques formulated by the French historian are left unanswered.
More generally, LaCapra makes a generous use of political labels when discussing academic disciplines and research fields, and he tends to evaluate scholarly contributions through the sole prism of the progressive/reactionary dichotomy ("Moving beyond theory is a specious and even sociopolitically and ethically suspect move", "Analytic philosophy and history are more theoretically conservative than literary criticism"). The bellicose tone and political labeling are serious limits to an otherwise well-written and thoughtful essay.
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