By way of essays and a selection of primary sources in parallel text, Biography, Historiography, and Modes of Philosophizing provides an introduction to a vast, significant, but neglected corpus of early modern literature: collective biography. It focuses especially on the various related strands of political, philosophical, and intellectual and cultural biography as well as on the intersection between biography, historiography, and philosophy. Individual texts from the fifteenth to the eighteenth century are presented as examples of how the ancient collective biographical (...) tradition--as represented above all by Plutarch, Suetonius, Diogenes Laertius, and Jerome--was received and transformed in the Renaissance and beyond in accordance with the needs of humanism, religious controversy, politics, and the development of modern philosophy and science"--Provided by publisehr. (shrink)

ABSTRACT Despite widespread interest in individual life histories, few biographies of scientists make use of insights derived from psychology, another discipline that studies people, their thoughts, and their actions. This essay argues that recent theoretical work in psychology and tools developed for clinical psychological practice can help biographical historians of science create and present fuller portraits of their subjects' characters and temperaments and more nuanced analyses of how these traits helped shape their subjects' scientific work. To illustrate this thesis, (...) the essay examines the early career of James McKeen Cattell—an influential late nineteenth‐ and early twentieth‐century experimental psychologist—through a lens offered by psychology and argues that Cattell's actual laboratory practices derived from an “accommodation” to a long‐standing “cognitive deficit.” These practices in turn enabled Cattell to achieve more precise experimental results than could any of his contemporaries; and their students readily adopted them, along with their behavioral implications. The essay concludes that, in some ways, American psychology's early twentieth‐century move toward a behavioral understanding of psychological phenomena can be traced to Cattell's personal cognitive deficit. It closes by reviewing several “remaining general questions” that this thesis suggests. (shrink)

Why does an object or phenomenon become the subject of scientific inquiry? Why do some of these objects remain provocative, while others fade from center stage? And why do objects sometimes return as the focus of research long after they were once abandoned? Addressing such questions, _Biographies of Scientific Objects_ is about how whole domains of phenomena—dreams, atoms, monsters, culture, society, mortality, centers of gravity, value, cytoplasmic particles, the self, tuberculosis—come into being and sometimes pass away as objects of scientific (...) study. With examples drawn from both the natural and social sciences, and ranging from the sixteenth to the twentieth centuries, this book explores the ways in which scientific objects are both real and historical. Whether discovered or invented, these objects of inquiry broaden and deepen in meaning—growing more "real"—as they become entangled in webs of cultural significance, material practices, and theoretical derivations. Thus their biographies will matter to anyone concerned with the formation of scientific knowledge. Contributors are Jed Z. Buchwald, Lorraine Daston, Rivka Feldhay, Jan Goldstein, Gerard Jorland, Doris Kauffman, Bruno Latour, Theodore M. Porter, Hans-Jörg Rheinberger, Marshall Sahlins, and Peter Wagner. (shrink)

Biography is a story, and a story is something that is meant to be told. It is thus quite evident that biography is the tale of a life: a life-story (Lebensgeschichte in German). But then the question arises as to what exactly is a story and how apt is it for representing life within the limits of this representation as compared to other representations of life: the painted or written portrait, the private diary, the oral or tape-recorded interview, the curriculum (...) vitae, the anthropometric file or the epitaph, which at least has the merit of being concise. (shrink)

Charles Hartshorne: Biography and Psychology of Sensation Charles Hartshorne is widely regarded as having been an important figure in twentieth century metaphysics and philosophy of religion. His contributions are wide-ranging. He championed the aspirations of metaphysics when it was unfashionable, and the metaphysic he championed helped change some of the fashions of philosophy. He counted … Continue reading Hartshorne: Biography and Psychology of Sensation →.

Cet article a pour objet le rapport éventuel entre la biographie épicurienne, dans sa fonction de proposer des modèles de félicité humaine, et la biographie telle qu’elle est pratiquée dans le platonisme de l’Antiquité tardive, notamment dans le De vita Pythagorica de Jamblique. Il est montré que des traits du portrait de Pythagore, tel que Jamblique le représente, le mode de vie qu’il cultivait et qu’il enseignait à ses disciples, évoquent des éléments spécifiques à l’éthique d’Épicure. La manière dont la (...) biographie avait été pratiquée dans les écoles épicuriennes, servant à proposer des exemples de la vie du sage, à imiter et assimiler par les membres de l’école, fait l’objet d’une deuxième section. Enfin, plus généralement, il est noté que l’éthique épicurienne a pu trouver place dans la philosophie néoplatonicienne, chez Porphyre et chez Jamblique, au niveau de la vie pratique, de la discipline du corps et des désirs corporels. (shrink)

From the 1990s onwards there has been growing interest in the study of biography. As opposed to those who are skeptical of the biographical method, we defend the historiographical importance of collective biographies by contrasting them with biographical collections. By discussing the historical background of biography as a branch of history, and by focusing on the aims, methodology and outcomes of collective biographies, we attempt to show how they both extend and deepen our concept of historical research.

Biography is one of the most popular categories of books—and indeed the most popular category among nonfiction books, according to one British poll. Thus, biography offers historians of science an opportunity to reach a potentially broad audience. This essay examines approaches typical of different genres of scientific biography, including historians’ motivations in their choices of biographical subject and their decisions about strategies for reconstruction of the biographical life. While historians of science often use biography as a vehicle to analyze scientific (...) processes and scientific culture, the most compelling scientific biographies are ones that portray the ambitions, passions, disappointments, and moral choices that characterize a scientist’s life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 44-57 [Access article in PDF] Literary Biography: The Cinderella of Literary Studies Michael Benton There are no prizes for guessing who are the two ugly sisters: Criticism, the elder one, dominated literary studies for the first half of the twentieth century; theory, her younger sister, flounced to the fore in the second half. Meanwhile, 'Cinders,' who had been doing the chores for (...) centuries, has been magically transformed in recent times, decked out in new clothes by Richard Holmes, Claire Tomalin, Juliet Barker, Peter Ackroyd et al., and, as the millennium approached, celebrated and admired on all sides. At the start of the new century, literary biography remains in vogue. The bibliography that carries it forward is rolling, and there is no sign of it turning into a pumpkin. Why is Cinderella so popular?One obvious if superficial answer might be that literary biography is where literary people go who find the contemporary preoccupation with theory to be personally undernourishing and critically unenlightening; they would rather stay with the literary works themselves and with the lives, the minds, and the times that produced them. Yet it is not only literary biography that is thriving; life writing in general is the fastest-growing area of mainstream publishing, evidence for which can be seen in Waterstone's flagship store in London's Piccadilly, which devotes its prime ground-floor site to thousands of biographies. This commercial high profile is responding to an evident, if unfocused, need to look at other lives and understand them. Individual reasons for the popularity of biography range from prurient interest and hero worship to a, perhaps unrecognized, search for coherence and purpose in an age that is often disinclined either to accept institutional values or to respect traditional authority. The motives for this search usually include the desire for recognizable success, to which end the invention of a convincing identity is essential. Biographies offer models of how others live, face challenges, and cope with change; they are prime sites for studying ourselves. Curiously, this justification for biography as providing [End Page 44] a model for living was felt most strongly when this literary genre first emerged in the eighteenth century. The difference today is that the model has changed: Biography as a moral exemplum based upon Christian principles has been replaced in today's celebrity culture by the demand for models of success provided by public personalities. Nonetheless, whatever the range of satisfactions readers seek in biography, life writing offers, in one form or another, detailed pictures of widely different ways of living and amid these, perhaps, some clues to how an individual sense of identity might be shaped.Literary biographies (i.e., biographies of writers, not biographies with a particular literary quality) are a significant and, in some respects, a unique subgenre since they purport to offer access to the creative imagination. They have a long and distinguished history from Johnson and Boswell to the present day; they are sometimes written by other novelists (Elizabeth Gaskell on Charlotte Bronte, Peter Ackroyd on Dickens); and autobiographical writing may take the form of poetry (Wordsworth) or fiction (Joyce).1 Furthermore recent writing in this field has increasingly introduced elements of metabiography in books by Adam Sisman2 and Lucasta Miller.3 It is evident, therefore, that literary biography offers a rich and varied area of study that raises issues about the relationships among biography, history, fiction, and poetry that are fundamental to aesthetic education.Yet despite this promise, it has become a truism to declare that biography has failed to establish any theoretical foundations upon which to build. Backscheider quotes Ira Nadel's remark on the absence of "a sustained theoretical discussion of biography incorporating some of the more probing and original speculations about language, structure, and discourse that have dominated post-structuralist thought."4 She goes on to lament the poverty of criticism; the absence of a cultivated readership; the failure to engage even with the practical questions of selection, organization, or presentation; and indicates that readers of biography are too easily... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading BiographyMichael Benton (bio)Biographer, Biography, and the ReaderBiography is a hybrid. It is history crossed with narrative. The biographer has to present the available facts of the life yet shape their arbitrariness, untidiness, and incompleteness into an engaging whole. The readerly appeal lies in the prospect both of gaining documentary information, scrupulously researched and plausibly interpreted, and of experiencing the aesthetic pleasure of reading a well-made work of art (...) with a continuous life story and a satisfying closure. "In the family of literature," one of its most respected practitioners asserts, "biography seems to be the product of a strange coupling between old-fashioned history and the traditional novel."1 The invitation of biography is thus a dualistic one; the aesthetic experience it offers stems from the twofoldness of its nature and from the stance that this imposes upon the reader. Literary biographies of poets and novelists offer a particularly fruitful area of study since their subjects have a special concern for aesthetic experience and the biographers' main interest lies in the relationship between the life and the works. Though much of what follows has a wider application, the focus of this article is on biographies of writers. By triangulating the roles of the biographer, the biographee within the biographical text, and the reader we can conceptualize the elements that make up the invitation of the genre.First, the biographer. Richard Holmes characterizes the process he experiences with two keywords: it is a "pursuit" and it is a "haunting." They are two sides of the same phenomenon. The pursuit is a "tracking of the physical trail of someone's path through the past, a following of footsteps," an effort "to write about the pursuit of that fleeting figure in such a way as to bring it alive in the present."2 The haunting occurs when this revivification succeeds and the biographee is brought imaginatively alive. Then the biographer turns from pursuer to pursued. While the subject does not take [End Page 77] him over, as it might in some Gothic fantasy, it does exercise the power of the past upon the present and haunt the biographer's imagination. Holmes goes on to explain the two main elements as "closely entwined strands":The first is the gathering of factual materials, the assembling in chronological order of a man's "journey" through the world—the actions, the words, the recorded thoughts, the places and faces through which he moved: the "life and letters." The second is the creation of a fictional or imaginary relationship between the biographer and his subject; not merely a "point of view" or an "interpretation," but a continuous living dialogue between the two... It is fictional, imaginary, because of course the subject cannot really, literally, talk back; but the biographer must come to act and think of his subject as if he can.3Not every biographer would necessarily subscribe to this particular description, but there is ample evidence in the recent spate of books about the genre4 that the biographer's capacity for imaginative empathy is continuously interacting with the verifiable historical data. The present operates upon the past in other ways, too. Earlier biographers who are more or less contemporary with their subjects (for example, Boswell, Forster, Mrs. Gaskell)5 stand in different relationships with them and the available data about them compared with present-day biographers who may inherit a whole bibliography of "lives" laid down in stratified layers on top of the life they are trying to recover. The modern reader, like the modern biographer, has to be a literary archaeologist. Dickens's "lives," for example, are constructed on a bedrock of his friend Forster's biography and on the novelist's own writings, neither of which subsequent biographers can afford to ignore. Later "lives" also have to be sifted through: our inherited Dickens is compounded from a series of accounts from, among a host of others, the Victorian memoirs of his daughter6 and his reading manager,7 via Edwardian enthusiasts8 and 1930s revelations about Dickens's private life,9 to those of modern academics and writers in our own time.10 In such cases, bringing the subject... (shrink)

Why does an object or phenomenon become the subject of scientific inquiry? Why do some of these objects remain provocative, while others fade from center stage? And why do objects sometimes return as the focus of research long after they were once abandoned? Addressing such questions, _Biographies of Scientific Objects_ is about how whole domains of phenomena—dreams, atoms, monsters, culture, society, mortality, centers of gravity, value, cytoplasmic particles, the self, tuberculosis—come into being and sometimes pass away as objects of scientific (...) study. With examples drawn from both the natural and social sciences, and ranging from the sixteenth to the twentieth centuries, this book explores the ways in which scientific objects are both real and historical. Whether discovered or invented, these objects of inquiry broaden and deepen in meaning—growing more "real"—as they become entangled in webs of cultural significance, material practices, and theoretical derivations. Thus their biographies will matter to anyone concerned with the formation of scientific knowledge. Contributors are Jed Z. Buchwald, Lorraine Daston, Rivka Feldhay, Jan Goldstein, Gerard Jorland, Doris Kauffman, Bruno Latour, Theodore M. Porter, Hans-Jörg Rheinberger, Marshall Sahlins, and Peter Wagner. (shrink)

This chapter contains sections titled: Critical Theory's Attack on Biography The Attack from within Literary Criticism Distinguishing a Category of Relevant Biographical Information Biographical Information as an Aid to Understanding Biographical Information as an Aid to Appreciation Biographical Information as an Integral Part of Appreciation Conclusion.

This collection of essays deals with the relationship between Wittgenstein's life and his philosophy. The first two essays reflect on general problems inherent in philosophical biography itself. The essays that follow draw on recently published letters as well as recently published diaries from the 1930s to explore Wittgenstein's background as an engineer and its relation to the Tractatus, the impact of his schizoid personality on his approach to philosophy, his role as a diarist, letter-writer and polemicist, and finally the complex (...) issue of Wittgenstein as a Jew. Written by a first-rate team of Wittgenstein scholars including two published biographers of the philosopher, Brian McGuinness and Ray Monk, this collection will appeal to anyone with a serious interest in the most influential philosopher of the twentieth century. (shrink)

‘Books are the work of solitude, and the children of silence.’ Thus Marcel Proust. The writer is not the same person as the man. The writer, if any good, is a different person, a higher person or at least one who distils something more worthy than is evidenced in the blunderings and fumblings and inadequacies of the everyday character who shares the same skin. This was the basis of Proust's own blistering attack on Sainte-Beuve, to the effect that the critic (...) substituted gossip for criticism and, incidentally, failed to recognize the genius of Baudelaire.In philosophy we have our own Proustian tendency, in the unlikely form of Karl Popper, For Popper, the provenance of ideas is supremely unimportant—and so, by extension is the biography of their authors. A healthy corrective, one might think, to the present day culture of celebrity, even at the intellectual level, and to the flood of philosophical biographies and title-tattle. At a more serious level, it warns us that we should not treat a philosopher's ideas with suspicion because (just because he was a Nazi in his lifetime or she was a communist when she was young or the apostle of equality is a snob living high on the hoof or the advocate of open discussion anything but its practitioner. (shrink)

À la croisée de la philosophie et de l’histoire de l’art, Bernard Teyssèdre a ouvert des champs de recherche très divers, ce qui a suscité l’enthousiasme de ses étudiants, mais aussi déconcerté ceux qui restaient attachés à leur pré carré disciplinaire. Présenter aujourd’hui son parcours intellectuel revient à faire redécouvrir certains de ses travaux oubliés en esthétique afin de montrer leur singularité et leur cohérence profondément hégélienne, bien que ses recherches aient pris des formes très différentes et abordés avec érudition (...) des domaines très éloignés les uns des autres. Sans oublier de situer philosophiquement des aspects moins connus de ses activités, littéraires, artistiques et aussi institutionnelles avec sa contribution déterminante au développement de la discipline esthétique et à l’introduction des arts plastiques à l’université. Ce panorama n’aurait pas été complet si n’était pas signalée la place de ses recherches en paléontologie restées longtemps secrètes et a priori fort éloignées de l’esthétique. Alors que Bernard Teyssèdre avait publié en 2007 une nouvelle édition de son Roman de l’Origine revue et augmentée (et que Thierry Savatier était sur le point de publier une nouvelle édition de L’Origine du monde, Histoire d’un tableau de Gustave Courbet ), Jean Da Silva lui apprit qu’une photographie du tableau exposé au musée d’Orsay avait circulé en France pendant une vingtaine d’années avant d’être publiée en 1953 dans des revues oubliées ; ce qui bouleversait l’idée que l’on avait encore en 2009 de la connaissance de ce tableau. S’ensuivit ensuite un jeu de piste à deux, sur le blog, par courriels et au téléphone. (shrink)

Sacred Biography in the Buddhist Traditions of South and Southeast Asia. Edited by Juliane Schober. University of Hawai'i Press, Honolulu 1997. xi, 366 pp. ISBN 0-8248-1699-4; Motilal Banarsidass, Delhi 2002. Rs 495. ISBN 81-208-1812-1.

This article offers a comparative study of seven German biographies of Karl Marx (1818–1883) that were published between the two world wars. The interpretations of Marx’s theory of historical materialism presented in these biographies fall into three groups or approaches: the orthodox, the neo-Kantian, and the psychological. Some biographies place Marx the revolutionary above Marx the theorist, while others reverse this order. Similarly, some of the biographies explain the relationship between Marx’s life and thought by adopting (...) the “experience–psychology–thought” framework. The orthodox approach emphasizes the objectivity of cognition in the base–superstructure relationship. Yet both the orthodox and the neo-Kantian approach, which stresses Kant’s cognitive critique and the “is–ought” dualism, fail to grasp Marx’s subject–object dialectics, while the psychological approach undermines the theoretical significance of historical materialism. In comparing and assessing these works I argue that the biographers’ historical and scholarly horizons are dictated by their political standpoint and academic perspective and thus determine their choice of approach, which not only indicates if they will lean toward the theoretical or the revolutionary Marx, but also why they fail to adequately deal with the relationship between Marx’s life and his thought. Nevertheless, I conclude that these biographies, despite their various shortcomings, establish the basic paradigm and parameters of any biography of Marx. (shrink)

La vie d'Empédocle par Diogène Laërce (Hippobotos).--Histoire de la tradition.--Biographie d'Empédocle.

Of all the thinkers of the century of genius that inaugurated modern philosophy, none lived an intellectual life more rich and varied than Gottfried Wilhelm Leibniz. Maria Rosa Antognazza's pioneering biography provides a unified portrait of this unique thinker and the world from which he came. At the centre of the huge range of Leibniz's apparently miscellaneous endeavours, Antognazza reveals a single master project lending unity to his extraordinarily multifaceted life's work. Throughout the vicissitudes of his long life, Leibniz tenaciously (...) pursued the dream of a systematic reform and advancement of all the sciences. As well as tracing the threads of continuity that bound these theoretical and practical activities to this all-embracing plan, this illuminating study also traces these threads back into the intellectual traditions of the Holy Roman Empire in which Leibniz lived and throughout the broader intellectual networks that linked him to patrons in countries as distant as Russia and to correspondents as far afield as China. (shrink)

Many years ago Degas said "Il faut décourager les arts." I am far from agreeing, but I am ready to say that critics of a certain kind are in need of active discouragement. Too much is written about matters that should be taken in by the beholder as he hears or scans the work. It is not desirable that his conscious mind should entertain - or be prepared to entertain - clear statements of what he experiences under the spell of (...) a masterpiece. The very reason why art is finer when it shows rather than tells is that comprehension is then immediate, not discursive. Ideally, the spectator must absorb - in order to be absorbed; and this means that the critic should shut up until he is wanted. We have no need of a study of "Punctuality in Thomas Hardy." I am making up the subject, but everybody can think of dozens of comparable works of pseudo-scholarship and pseudo-criticism. Their only excuse is that the authors wrote them under Ph.Duress and cannot be blamed for being coerced. Jacques Barzun is University Professor at Columbia University. Among his numerous books are Classic, Romantic and Modern, Berlioz and the Romantic Century, The Use and Abuse of Art and, most recently, Clio and the Doctors: Psycho-History, Quanto-History, and History. (shrink)

Alexandre Dikovsky is born in Leningrad, Russia on August 9, 1945. He died in Nantes, France in the beginning of 2014. He is well known for his significant contributions to the fields of Mathematics, Linguistics, and Informatics. In the course of his career, he published over 100 research papers, 12 book chapters, and participated in numerous national and international projects.

In his quest to solve 'the ever-disquieting riddle of existence', Schopenhauer explored almost every dimension of human existence, developing a darkly compelling worldview that found deep resonance in contemporary literature, music, philosophy, and psychology. This is the first comprehensive biography of Schopenhauer written in English. Placing him in his historical and philosophical contexts, David E. Cartwright tells the story of Schopenhauer's life to convey the full range of his philosophy. He offers a fully documented portrait in which he explores Schopenhauer's (...) fractured family life, his early formative influences, his critical loyalty to Kant, his personal interactions with Fichte and Goethe, his ambivalent relationship with Schelling, his contempt for Hegel, his struggle to make his philosophy known, and his reaction to his late-arriving fame. (shrink)

In the last years, a series of automated self-representational social media sites have emerged that shed light on the information ethics associated with participation in Web 2.0. Sites like Zoominfo.com, Pipl.com, 123People.com and Yasni.com not only continually mine and aggregate personal information and biographic data from the web and beyond to automatically represent the lives of people, but they also engage algorithmic networking logics to represent connections between them; capturing not only who people are, but whom they are connected to. (...) Indeed, these processes of 'auto-biography' are 'secret' ones that for the most part escape the user's attention. This article explores how these sites of auto-biography reveal the complexities of the political economy of Web 2.0, as well as implicate an ethics of exposure concerning how these processes at once participate in the erosion of privacy, and at the same time, in the reinforcement of commodification and surveillance regimes. (shrink)

Short biographies of twenty world famous philosophers.

This collection of essays deals with the relationship between Wittgenstein's life and his philosophy. The first two essays reflect on general problems inherent in philosophical biography itself. The essays that follow draw on recently published letters as well as recently published diaries from the 1930s to explore Wittgenstein's background as an engineer and its relation to the Tractatus, the impact of his schizoid personality on his approach to philosophy, his role as a diarist, letter-writer and polemicist, and finally the complex (...) issue of Wittgenstein as a Jew. Written by a first-rate team of Wittgenstein scholars including two published biographers of the philosopher, Brian McGuinness and Ray Monk, this collection will appeal to anyone with a serious interest in the most influential philosopher of the twentieth century. (shrink)