Robert Williams

Arthur Danto invokes his philosophy of history to authorize a reading of Nietzsche that his philosophy of history nevertheless undermines. Danto's Nietzsche was a system builder, for, “if only tacitly,” he submitted his thinking to the demands of the philosophical “discipline,” “where there is no such thing as an isolated solution to an isolated problem”. In his Analytical Philosophy of History, Danto invents a character he dubs “the Ideal Chronicler.” Danto's notion of a narrative sentence clarifies his idea that historical understanding is retrospective; that it is a matter of assigning significance to earlier events in light of later ones – thus, a matter of placing earlier events within a story we wish to tell. Danto attributes the structural coherence of Nietzsche's writings both to historical understanding and to the systematizing tendencies of philosophical inquiry.

This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrecht Dürer’s 1504 painting, “The Adoration of Kings.”