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10). That is, culture is itself an ‘‘acted document,’’ whether it takes the form of ‘‘a burlesqued wink or a mock sheep raid’’ (p. 10). The point is that to understand what people are up to in any culture – and, ‘‘leaving our winks and sheep behind for the moment,’’ Geertz takes a Beethoven quartet as his example – you need to be acquainted ‘‘with the imaginative universe within which their acts are signs’’ (p. II). For the purposes of literary criticism, ‘‘imaginative,’’ ‘‘drama,’’ ‘‘manuscript,’’ and ‘‘signs’’ were reassuringly familiar terms, as was the whole emphasis on symbolic behavior, but the specific force of Geertz’s work for new historicism resided in the expansion of these terms to a much broader and less familiar range of texts than literary critics had permitted themselves to analyze.

How reliable is this evidence? Are there convincing grounds for denying or doubting the documented events? And if there are not such grounds, how may we interpret the motives of those who seek to cast doubt upon the historical record? There is a further problem in Lyotard’s use of the Faurisson affair as an instance of capitalist hostility to names: the conflation of Fascist apologetics and capitalism would seem to be itself an instance of monologism, since it suppresses all the aspects of capitalism that are wedded to the generation and inscription of individual identities and to the demarcation of boundaries separating those identities.

His textual fragments represent the enormous multiauthored texts from which they are drawn – the Odyssey and the Bible – and the styles disclosed in those fragments represent historically determined and determining methods by which the world is apprehended, imitated, and reproduced. 9 Each chapter then proceeds to unpack its excerpt, sometimes in the light of other briefer passages from the same author’s work or from that of contemporaries, but more often by intense close reading, that is, by examining very carefully modulations in the level of style, resonances of diction, nuances of tone, rhetorical strategies, latent philosophical and sociological assumptions.

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