Local Knowledge (Text Only). Clifford Geertz

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СКАЧАТЬ ideological arguments cast as historiographical inquiries (Edward Said), epistemological studies constructed like political tracts (Paul Feyerabend), methodological polemics got up as personal memoirs (James Watson). Nabokov’s Pale Fire, that impossible object made of poetry and fiction, footnotes and images from the clinic, seems very much of the time; one waits only for quantum theory in verse or biography in algebra.

      Of course, to a certain extent this sort of thing has always gone on—Lucretius, Mandeville, and Erasmus Darwin all made their theories rhyme. But the present jumbling of varieties of discourse has grown to the point where it is becoming difficult either to label authors (What is Foucault—historian, philosopher, political theorist? What Thomas Kuhn—historian, philosopher, sociologist of knowledge?) or to classify works (What is George Steiner’s After Babel—linguistics, criticism, culture history? What William Gass’s On Being Blue—treatise, causerie, apologetic?). And thus it is more than a matter of odd sports and occasional curiosities, or of the admitted fact that the innovative is, by definition, hard to categorize. It is a phenomenon general enough and distinctive enough to suggest that what we are seeing is not just another redrawing of the cultural map—the moving of a few disputed borders, the marking of some more picturesque mountain lakes—but an alteration of the principles of mapping. Something is happening to the way we think about the way we think.

      We need not accept hermetic views of écriture as so many signs signing signs, or give ourselves so wholly to the pleasure of the text that its meaning disappears into our responses, to see that there has come into our view of what we read and what we write a distinctly democratical temper. The properties connecting texts with one another, that put them, ontologically anyway, on the same level, are coming to seem as important in characterizing them as those dividing them; and rather than face an array of natural kinds, fixed types divided by sharp qualitative differences, we more and more see ourselves surrounded by a vast, almost continuous field of variously intended and diversely constructed works we can order only practically, relationally, and as our purposes prompt us. It is not that we no longer have conventions of interpretation; we have more than ever, built—often enough jerry-built—to accommodate a situation at once fluid, plural, uncentered, and ineradicably untidy.

      So far as the social sciences are concerned, all this means that their oft-lamented lack of character no longer sets them apart. It is even more difficult than it always has been to regard them as underdeveloped natural sciences, awaiting only time and aid from more advanced quarters to harden them, or as ignorant and pretentious usurpers of the mission of the humanities, promising certainties where none can be, or as comprising a clearly distinctive enterprise, a third culture between Snow’s canonical two. But that is all to the good: freed from having to become taxonomically upstanding, because nobody else is, individuals thinking of themselves as social (or behavioral or human or cultural) scientists have become free to shape their work in terms of its necessities rather than according to received ideas as to what they ought or ought not to be doing. What Clyde Kluckhohn once said about anthropology—that it’s an intellectual poaching license—not only seems more true now than when he said it, but true of a lot more than anthropology. Born omniform, the social sciences prosper as the condition I have been describing becomes general.

      It has thus dawned on social scientists that they did not need to be mimic physicists or closet humanists or to invent some new realm of being to serve as the object of their investigations. Instead they could proceed with their vocation, trying to discover order in collective life, and decide how what they were doing was connected to related enterprises when they managed to get some of it done; and many of them have taken an essentially hermeneutic—or, if that word frightens, conjuring up images of biblical zealots, literary humbugs, and Teutonic professors, an “interpretive”—approach to their task. Given the new genre dispersion, many have taken other approaches: structuralism, neo-positivism, neo-Marxism, micro-micro descriptivism, macro-macro system building, and that curious combination of common sense and common nonsense, sociobiology. But the move toward conceiving of social life as organized in terms of symbols (signs, representations, signifiants, Darstellungen . . . the terminology varies), whose meaning (sense, import, signification, Bedeutung . . . ) we must grasp if we are to understand that organization and formulate its principles, has grown by now to formidable proportions. The woods are full of eager interpreters.

      Interpretive explanation—and it is a form of explanation, not just exalted glossography—trains its attention on what institutions, actions, images, utterances, events, customs, all the usual objects of social-scientific interest, mean to those whose institutions, actions, customs, and so on they are. As a result, it issues not in laws like Boyle’s, or forces like Volta’s, or mechanisms like Darwin’s, but in constructions like Burckhardt’s, Weber’s, or Freud’s: systematic unpackings of the conceptual world in which condottiere, Calvinists, or paranoids live.

      The manner of these constructions itself varies: Burckhardt portrays, Weber models, Freud diagnoses. But they all represent attempts to formulate how this people or that, this period or that, this person or that makes sense to itself and, understanding that, what we understand about social order, historical change, or psychic functioning in general. Inquiry is directed toward cases or sets of cases, and toward the particular features that mark them off; but its aims are as far-reaching as those of mechanics or physiology: to distinguish the materials of human experience.

      With such aims and such a manner of pursuing them come as well some novelties in analytical rhetoric, the tropes and imageries of explanation. Because theory, scientific or otherwise, moves mainly by analogy, a “seeingas” comprehension of the less intelligible by the more (the earth is a magnet, the heart is a pump, light is a wave, the brain is a computer, and space is a balloon), when its course shifts, the conceits in which it expresses itself shift with it. In the earlier stages of the natural sciences, before the analogies became so heavily intramural—and in those (cybernetics, neurology) in which they still have not—it has been the world of the crafts and, later, of industry that have for the most part provided the well-understood realities (well-understood because, certum quod factum, as Vico said, man had made them) with which the ill-understood ones (ill-understood because he had not) could be brought into the circle of the known. Science owes more to the steam engine than the steam engine owes to science; without the dyer’s art there would be no chemistry; metallurgy is mining theorized. In the social sciences, or at least in those that have abandoned a reductionist conception of what they are about, the analogies are coming more and more from the contrivances of cultural performance than from those of physical manipulation—from theater, painting, grammar, literature, law, play. What the lever did for physics, the chess move promises to do for sociology.

      Promises are not always kept, of course, and when they are, they often turn out to have been threats; but the casting of social theory in terms more familiar to gamesters and aestheticians than to plumbers and engineers is clearly well under way. The recourse to the humanities for explanatory analogies in the social sciences is at once evidence of the destabilization of genres and of the rise of “the interpretive turn,” and their most visible outcome is a revised style of discourse in social studies. The instruments of reasoning are changing and society is less and less represented as an elaborate machine or a quasi-organism and more as a serious game, a sidewalk drama, or a behavioral text.

      II

      All this fiddling around with the proprieties of composition, inquiry, and explanation represents, of course, a radical alteration in the sociological imagination, propelling it in directions both difficult and unfamiliar. And like all such changes in fashions of the mind, it is about as likely to lead to obscurity and illusion as it is to precision and truth. If the result is not to be elaborate chatter or the higher nonsense, a critical consciousness will have to be developed; and as so much more of the imagery, method, theory, and style is to be drawn from the humanities than previously, it will mostly have to come from humanists and their apologists rather than from natural scientists and theirs. That humanists, after years of regarding social scientists as technologists or interlopers, are ill equipped to do this is something СКАЧАТЬ