This week I was asked to speak in a conference with an interdisciplinary audience from the Humanities. For that occasion, I decided to transform one topic of my research into a generic perspective to which many would be able to relate. The thought I will discuss is the rise of the political consciousness in the baroque period by controversial narrative. The concept of Narrative hunts me for the past few months and certainly for any modern humanist can, and should, evoke large variety of connotations.
Up until recently (50 years or so) Narrative was used predominantly in literary context describing books, stories and literary work of any sort. This changed in the 60’s and 70’s with the rise of the study of Identity with all its components. Narrative slowly transcended into Narrativity and since then is also being used to interpret cultural and social based sciences (political philosophy, psychology, cultural theory, anthropology, sociology…).
Today, Narrative is more of conceptual term that refers to the reality behind the fiction. For some it is the missing link from representational form to ontological and epistemological thinking. Personally, I am dubious about the use of Narrativity without the important epistemological evidence of narration. To my opinion, it is relatively vague and unscientific to simply relate to one’s hypothetical life of ideas as a Narrative without any sort of physical expression of it. This expression can have multiple forms such as: writing, oral and physical expression, filmed or recorded etc.
As it seems, if we lack a sense or a form of communication, the misconstrued ideas that might be established or provoked are simply too great to be considered as any kind of science. With the help of recent studies in Reception Theory, we are aware of the difficulties with interpretation from written expressions of realities (other theorists as Eco or Sontag had long mentioned some of these reflexions in their work). Considering Narrativity is not necessarily the controversy between prescribing life experiences and describing them (as Kreiswirth and Strawson try to debate).
From this perspective I will probably try to define later this week the literary expressive baroque as an awakening for transmitting political consciousness to other straits of society. Probably the most successful interpretations of this kind of cultural transmission are in the form of political satire and theatrical plays. Even though those voices were first documented in the great Greek and, more predominately, Roman ancient civilizations, it is not until the end of the 16th century that we re-encounter this social intervention in politics in such a large scale.
Thus, we can thank Shakespeare, Lope de Vega, Balzac as well as many anonymous satires (anonymous for obvious reasons) to set the foundation for this recent view about income inequality: