Or at least it cannot be determined without recourse to prophesy, which was in fact the model or the precursor of philosophy of history, Heilsgeschichte, or salvation history. The name is unfair, as it suggests that there is a commonality between, say, Gioacchimo de Fiore’s work and Walter Ralegh’s History of the World, while the reality is that these differ from each other just as much as either of them would differ from a nineteenth-century historical work. Yet this difference, Danto and Popper would suggest, is only a superficial one. In their view, Hegel fell back into Heilsgeschichte in that he tried to bridge the gap between philosophy and history using prophesy – at least in the structural sense of including the future in his theory of history.
Calculated or accidental, this is a bold misreading of Hegel. Even if one does not consider the entire theory of teleology that is behind his philosophy of history, it is obvious that Hegel consistently refrains from saying anything about the future. On the rare occasions that he does say something concerning the future, he makes it clear that the epistemological status of his statement is entirely different from the rest of the work; it is neither historical, nor philosophical. In fact, the entire philosophy of history is based on the insight that neither beginnings nor the future can be the subject of the historian’s inquiry; the only history that can be the subject of history or philosophy of history is the history that is always already past; it is a complete history precisely because it is disconnected – epistemologically and, therefore, ontologically also – from the future.
But this is precisely the point where comparative literature could redeem the potential of philosophy of history, not by returning to Hegel but by diverging from his epistemology. Burckhardt’s centaur may or may not be a fair figure for philosophy of history, but it is surely one applicable to literature itself. Literature is precisely at the intersection of philosophy and history, or to be more concrete, literature is this very intersection. There is, surely, an “ontological gap” between the historical circumstances of the birth of a literary work and the work itself. But even more important is the way the work itself bridges this ontological gap; time and again, a given literary work reconnects with history.
This dialectic of disengaging and reconnecting is, in terms of the structure of the process, always coincidental: the way in which the abstract universality of language regains referentiality is a matter of coincidence. But coincidence does not equal blind chance; in between the two, there is literature’s own periphery, the periphery of meaning where the abstract universality of language reconfigures in ways that make the ontological structure of language accessible. This peripheral reconfiguration is the basis of literature’s coincidental reconnecting with historical referentiality. The future is the periphery of the present; it appears on the margins of the literary work in indecipherable forms, ready to take up a particular meaning in the actual time that follows.
CONCLUSION: COMPARATIVE LITERATURE AND PHILOSOPHY OF HISTORY
The question is, if literature really is Burckhardt’s centaur, how is one to engage with such a monstrous creature in a scholarly fashion, that is, how can comparative literature redeem the aborted project of philosophy of history in its analyses of literature.
I think this is a much easier question than it may seem at first sight: coordination and subordination, history and philosophy, or history and aesthetics are indeed impossible to practice, if, that is, one wants to practice all of them at the same time. Instead, however, they can be played out against each other. Philosophy and aesthetics can and should be practiced autonomously; but when they would seem to be stuck in their own pathos, history can be invoked to help find a path out of the muddy ground of concepts and introduce co-ordination, examples, things. And vice versa: as soon as the material of history pushes the project to the precipice of meaningless relativism, philosophy and aesthetics might help. This movement of systole/ diastole can cut across the borders not just of disciplines but of ideologies and ontologies as well, and can thus inform a comparative literature that, rather than relying on either interpretation or deconstruction, operates by constellation, by placing works and their aesthetics or history side by side, repeating the same oscillating movement from one to another over and over again, until the coincidental structures of the works analyzed reconstitute themselves in the analysis.
Such an a-disciplinary model based on a philosophy of history could point toward a comparative approach to literature that is able to ask questions in which history, ontology, and aesthetics are not mutually exclusive but rather mutually supportive notions. Leaving behind disciplinary axioms (“historical reality as such,” “fiction as such,” etc.), a more comprehensive approach could evolve. And finally, comparative literature could in this way achieve a different kind of self-awareness without actually spending too much time on dealing with itself and its history.
WORKS CITED
Acta Comparationis Litterarum Universarum [ACLV], NS.
Burckhardt, Jacob. Reflections on History. Trans. M.D. Hottinger. Indianapolis: Liberty Classics, 1979.
Damrosch, David. “Rebirth of a Discipline: The Global Origins of Comparative Studies.” Comparative Critical Studies 3 (2006): 99-112.
Ferris, David. “Indiscipline.” Comparative Literature in an Age of Globalization. Ed. Haun Saussy. Baltimore: Johns Hopkins UP, 2006: 78-100.
Gumbrecht, Hans Ulrich. “The Future of Literary Studies.” The Future of Literary Studies. Eds. Hans Ulrich Gumbrecht and Walter Moser. Canadian Comparative Literature Association, 2001.
Hegel, Georg Wilhelm Friedrich. The Philosophy of History. Trans. John Sibree. Kitchener: Batoche Books, 2001.
Meltzl de Lomnitz, Hugo. “Present Tasks of Comparative Literature.” Comparative Literature: The Early Years. An Anthology of Essays. Eds. Hans-Joachim Schulz and Phillip H. Rhein. Chapel Hill: U of North Carolina P, 1973.
Rorty, Richard. “Looking Back at Literary Theory.” Comparative Literature in an Age of Globalization. Ed. Haun Saussy. Baltimore: Johns Hopkins UP, 2006: 63-68.
Saussy, Haun. ed. Comparative Literature in an Age of Globalization. Baltimore: Johns Hopkins UP, 2006.
______. “Exquisite Cadavers Stitched from Fresh Nightmares: Of Memes, Hives, and Selfish Genes.” Comparative Literature in an Age of Globalization. Ed. Haun Saussy. Baltimore: Johns Hopkins UP, 2006: 3-42.
1 I would like to express my gratitude to Professor Damrosch for allowing me to read the manuscript version of his essay.
2 Among others, Nietzsche might have heard about Petőfi from Meltzl.
3 Theories about Petőfi’s death as well as the location of his corpse also appeared on the pages of Meltzl’s journal; one reader, writing about Petőfi’s death at Segesvár, notes that while Goethe was dreaming about Weltliteratur, Petőfi was dreaming about world-freedom, but he also died for it (ACLV XIII, 1-2: 25-26).
4 Here I rely on Hans Ulrich Gumbrecht’s argument in “The Future of Literary Studies,” although I take responsibility for the statement that literary studies survived their own death.
5 The fascination, it seems, was mutual: Derrida was perplexed by what he considered the apocalypticism of America. Derrida’s fascination with the apocalyptic in the U.S. is visible from his work on the rhetoric of nuclear politics as well as his essay on Kant’s critique of apocalypticism.
6 I am aware of the anachronistic