Author: staceymeeker

  • Introduction to the GASC 2013 Issue

    The 2013 Generative Anthropology Summer Conference, “Putting the Human Back into the Humanities,” was notable, by common observation, for the intensity and depth of its intellectual engagements. An almost relentless stream of strongly argued papers left participants both drained and exhilarated. It was clear to all, as we mingled for the final time on the balcony of Royce Hall and gazed out into the Los Angeles sunshine, that this had been an experience of extraordinary richness and promise. With GASC’s return to the very room in which the first GA conference, “Generative Anthropology: Representation and Origin,” was held in 1990, the vitality of GA and those who work with it have never looked better.

    So many fine papers were presented that we will also devote the Spring 2014 issue of Anthropoetics to articles developed from them. The present issue offers our readers four remarkably diverse examples of the thinking on display at GASC VIII, plus one paper that certainly belonged there.

    Professor Jean-Loup Amselle delivered our guest plenary, which we reproduce largely unaltered. “Did Africa Invent Human Rights?” is the work of an eminent anthropologist, tracing the paradoxical operation of what he acknowledges is “mimetic rivalry” in the context of the search for African national and cultural identity, and raising questions with obvious and profound originary implications.

    These questions are taken up by Richard van Oort in a “Response” that highlights the commonalities and divergences between Amselle’s Foucauldian analysis and those, firstly of such figures as Ernst Gellner and John Rawls, and then that of Generative Anthropology itself.

    Ian Dennis’ “Student Resentment and Professorial Desire in Higher Education” delves beneath the agonistic expressions of resentment between students and professors that are apt to surface in a de-ritualized world of higher education, which increasingly resembles the modern market where learning is commodified and distinctions blurred. Ian’s sharp originary analysis probes beyond a merely mimetic interpretation to uncover the fundamental anthropological mechanisms behind asymmetrical resentments and the cultural means of productively deferring these tensions. Ian proposes that escape from the sterile mimetic muddle of master and disciple is possible if the professor becomes a model for the student by re-enacting the acquisition of his or her cultural firstness, re-experiencing and modeling originary vulnerability to the desire that culture-as-sign transcends. [SLM]

    Martin Fashbaugh had the best of possible excuses for missing the UCLA conference—his wedding day! He was with us in spirit, however—our congratulations, Martin!—as his insightful probing of Percy Bysshe Shelley’s 1821 masterpiece “Epipsychidion” in “Creating ‘An Infinite World All Its Own’: The Poetics of Resentment in Percy Bysshe Shelley’s Epipsychidion amply demonstrates. Even at the heart of this arch-Romantic’s desperate quest for an “atemporal originary scene” to be shared with his beloved, a quest whose failure he attributes to the nature of language itself, lurks another, more fundamental resentment.

    Readers of this journal, who expect nothing less than ground-breaking work from Adam Katz, the originator of the GA’s “first amendment” (on “firstness” itself) will not be disappointed with his contribution to issue 19.1. “Attentionality and Originary Ethics: Upclining” is a dense and ambitious re-examination, in originary terms, of the formation of moral reciprocity through shared attention and those human tendencies of “distraction” and “fixation” that threaten to interrupt it. This leads, through a revisiting of various aspects of cognitive linguistics, the “Sapir-Whorf” hypothesis, “grammaticalization,” and “upclining,” to an insistence on the priority of GA’s constitutive concept of “attentionality” and a telling reflection on the pragmatics of maintaining ethical behaviour in the everyday life of a modern society.

    Next year’s meeting returns to British Columbia, where the current GASC series was inaugurated in 2007. The Eighth Annual Generative Anthropology Summer conference in Victoria, organised by Richard van Oort, will include plenaries by both Eric Gans and the British polymath Raymond Tallis; it is probably the most eagerly anticipated yet. Stay tuned for the second installment of papers from the 2013 UCLA conference. We look forward to seeing you in Victoria!

  • Student Resentment and Professorial Desire in Higher Education

    It will likely surprise few university or college teachers to be told that one finds reflected in the modern classroom, and at the heart of the project of education itself, what Eric Gans has recently reminded us is “the essential human ethical problem . . . posed by inequality.”(1) In a world increasingly structured as a market—where exchange between equals establishes value—those being educated can be expected not just to perceive inequality in an arrangement that seems to aspire to deliver value unidirectionally, but to experience with increasing urgency that “sentiment of exclusion from the center,” which Gans offers as a short definition of his key term, “resentment.”(2) The analysis that follows focuses on the student-professor relationship and the evolving forms and intensifying consequences of the resentments—but also desires—provoked by its enduringly hierarchical character. We will grapple, that is, with a saliently contemporary form of a fundamental human paradox, and with its resultant pragmatic dilemmas. We will make, indeed, the paradoxical case that the resentment of professorial centrality cannot be eliminated by the abolition, replacement or ignoring of that center, but can be productively deferred and redirected by the professor’s modelling of his or her position as one not of power or achieved identity, but of vulnerability, the vulnerability inherent in genuine desire.

    Generative Anthropology (or GA) and its mode of “originary thinking” provide the best available heuristic, the simplest, most precisely articulated categories for such a purpose.(3) But we will apply these categories, of resentment, desire, centrality and exchange, to widely observed phenomena—as opposed to providing new observations or data. And we will try to remain at a fairly high level of abstraction. Assuming a rich store of experience and principled commitments in its presumptive readership, the argument will avoid the anecdotes, or the expressions of heartburn, to which the topic might lend itself. We know the struggles, and goals, we share.

    The inquiry is, however, at least partially motivated by the sense—also frequently recorded, but which it can be no part of our purpose here to prove or quantify—that the attainments of students in higher education, if obviously various, are a frequent disappointment to all concerned. Still, we have no ambition to contribute to the “university-in-ruins” sub-genre,(4) to lament prevailing norms or identify (and denounce) immediate causes. Instead, we will try to conceptualize the changes affecting university education on what we might call a slower or deeper time scale, while fully conceding the diversity of experience from, say, decade to decade, that other anthropological or historical accounts have typically and properly enough insisted upon.(5) (In the same way we will assume only a North American geographical and cultural locus, and allow others to detail the also substantial diversity therein.) We will thus explore and theorize a situation the inevitability of whose overall ethical character we accept, thereby allowing us to propose a few broadly pragmatic forms of response, contributions, that is, to an understanding of the ethical possibilities available and emergent in our own historical moment. Not for us any whiff of nostalgia for an ancien regime of unchallenged, indeed sacred pedagogical authority.

    There were doubtless no undergraduates on the originary scene.(6) Even so, we will attempt in these ways to remain as loyal as possible to the minimalism of GA’s new way of thinking.

    Resentment can express itself in many forms, as much by tuning out as by overtly rivalrous behaviours, in passive as well as active aggression. GA’s model of ethical development, however, suggests its most significant and indeed productive strategy: to attempt to resolve the impasse of desire in the confrontation with sacred inviolability by converting an asymmetrical relationship to a solitary, public centre into a sequence of individual and equal exchanges. Resentment, that is, aspires to divide centrality, make it plural, distributing its values and benefits through the more dynamic structure most simply referred to as a market. This, GA posits, is the historical trajectory of human culture, the current arc of which the modern student traverses.(7) With widely varying degrees of self-consciousness, he or she “embraces the market.”

    Amongst the more common expressions of this embrace one may find the following implicit or explicit claims:

    Education is not something public or culturally central—it is a private and particular acquirement for personal advancement.

    A professor is a human being like me—and we will both need reminding of this whenever I feel he or she aspires to any more exalted status. I may thus rate-my-professor for his or her intelligence, sexiness, entertainment value, or indeed his or her diligence in responding to my desires.

    Above all,

    An education is something I purchase. I have a right to—and intend to—get my money’s worth.

    These claims are widely observed by educators. But other factors affecting the student’s relationship to his or her education are often advanced as more significant, putatively having little or nothing to do with resentment, especially personal resentment.(8) We might briefly survey some of these.

    Modern students are lazy. (This can take many forms, and be attributed to various factors, individual or social.)

    Is laziness an originary category, like resentment? It is certainly not a category of the non-human world. Does anyone at the origin fail to imitate the sign out of sloth? Or, perhaps more to the point, is the original emission of the sign itself, and its imitation, an indolent evasion of struggle over the object of desire? A failure, even, of what one might call pre-manly will? Is the birth of language and of the human, also the birth of laziness? Perhaps “laziness” is really another way of designating the efficiency of the new route to sparagmos and nutrition: ultimately, less energy, fewer calories, are expended.

    William Wordsworth and the other Romantics who celebrated “wise passiveness” and indeed “majestic indolence” would probably have been quite receptive to an hypothesis of human origin based on a refusal of effort. They would be seconded by many a modern undergraduate—even those not consciously devoted to the cult of the Big Lebowski. But laziness in the face of mediated appetitive desire surely cannot be unmotivated, even or especially amongst the participants in the originary scene. Are we not obliged to understand it as an expression of resentment? I turn away from the object of desire in my resentment of its impenetrable centrality, and perhaps, but only later, also of those who celebrate their humanity in the sign and their goody-two-shoes suspension of appropriation. Those whose attention makes the object desirable. A pox on your sign and all its works; it’s too much trouble; go ahead, dance, point, divide your kill, have your feast—I’m going off by myself to snuffle for roots and berries. When I find one, I’ll just eat it.

    Doubtless this is very generalized resentment. The case must still be built that its modern counterpart is provoked or can be mitigated by individual professors.

    Students are distracted from their education by many other activities: jobs, drinking, sex, sports.

    But, as we have noted, resentment of the originary single centre blossoms through history into the proliferation of rival centres of desire. Any implicit or explicit refusal of a single focus of desire or meaning must be attributed to resentment, as GA uses the term, and the belief that the proliferation of multiple foci is somehow natural and unproblematic is of course a quite recent development of human ethical history. At any rate, since about the time of Dr. Johnson’s Rasselas a growing minority of the world’s young has been making, and demanding the right to make, a “choice of life.”(9) The expectation of a particular destiny awaiting them has over the same period been in steady retreat. And unlike destinies, choices are in principle revocable, if the chooser’s desires are rebuffed. Desires for careers can be redirected at least as easily as those for lovers and creeds, from motivations that fit quite comfortably under the umbrella of the term resentment.

    The question of jobs—one wishes to be able to say “other jobs” but even this student discourse does not tend to respect—is particularly vexed.(10) Perhaps we need here to respond to the objection that outside employment is not so much an expression of resentment as a practical necessity. This may certainly be a more telling argument in some contexts than in others, and for some individual students in any context. But such “needs” are surely still always functions of desires—it may be just as urgent to go partying or to attend a sports tournament. Who is to say? We should certainly eschew easy judgements about the relative value of the desires hailing students from every quarter. The calculations involved are exceedingly difficult to assess from the outside—even a matter like the widely assumed rise in the cost of a university education is more difficult to establish than might be thought.(11) Harder still to parse is the disposition of available funds in a typical student budget. It is patently obvious, however, that for many students, at the very least, a more frugal (and studious) lifestyle is at least theoretically possible. But to say this is not in itself to criticise or advocate, nor to dismiss problems of student costs and indebtedness. It should simply be to remind ourselves that desire and thus history finally mediate all human behaviour—true “needs” operate only in the non-human realm. (One “needs” to breathe? But a human being may choose to die.) All putative human needs are qualified by their ends, are needs-in-order-to-attain particular desires. And all human desires are mediated through other human desires, as represented to us. Not, of course, that responding to—choosing between—competing desires or “needs” is easy. It can be exceedingly difficult, wrenching … agonising. And ever more so, as desires proliferate and more and more objects thereof shift out of the prohibited center and into the exchangeable periphery. This is the very agon of market life.

    Ultimately, higher education too must compete, which is to say, must model desire for its project, and concede to mechanisms beyond its immediate control the sorting of student priorities. And attempts to compete for student time, energy and attention—to induce more study (this quantity also widely reported as having declined)—risk undercutting themselves with too-hasty assumptions about financial hardship or other exigencies. As allowances are made, through a process as inexorable as the mediated nature of desire itself, more allowances are required.

    Student regard and desire for the culture represented and provided to them by higher education is displaced by their attraction to other cultures in our diverse society, perhaps popular or “alternative” cultures.(12)

    Popular culture GA has long recognised as a playground of resentment and imaginary sparagmatic satisfactions. Indeed, the distinction between the competing sources of socially valuable wisdom here resembles that between high and low art; university education, perhaps, requires the longer term of oscillating attention to remain upon the unconsumable sign(13)—a question to which we will return. The main point is that this distraction, like others, flatters the resentment of a rival upon which it nonetheless depends, offering the more immediate gratifications which are its claim to superiority, but occluding always its tributary character.

    That said, it is perhaps merely as a matter of delimitation of our subject that we do not consider here the desires of those who have not presented themselves at the doors of the institution. Genuine rejection or indifference—and we may certainly presume they exist—manifest themselves in absence. Our analysis does not engage questions of recruitment. Thankfully, we may assume in the students who turn up in the classroom some degree of desire for something higher education may be hoped to provide, whatever the resentments and other disincentives that might interfere with the process.

    Students turn away from or do not flourish in higher education because of bad or irrelevant teaching.

    But this we must identify not simply as Cool Hand Luke’s “failure to communicate”(14) but as an alienation or shortfall of desire for the object putatively centralized, and thus subsume it into one or more of the categories just mentioned. This is not to dismiss it, though. Resentment knows certain things, has its own truths—failures of professorial modelling of desire may certainly be held to account. But qualitative distinctions are expressions thereof and are predicated upon the existence of another, rivalrous alternative. Only the concession of absolute perfection to the centre—religious adoration, even—completely constrains the resentment of those subjected, and no one’s faith is so strong now, if ever it was.

    Students are inadequately prepared at home or in previous educational institutions and are simply unable to benefit from higher education.

    The analysis we attempt here of the professor-student relationship, if valid, will surely be applicable, mutatis mutandis, to other pedagogical relationships, including that of parent and child. The problems, and any imaginable remedies, are in certain fundamental ways common. The force of the objection just listed is also not to be denied. But if resentment of the centralities of higher education, including that of the professor, is not a major factor in the struggles of inadequately prepared students, the imperfect management of resentment and desire in earlier educational processes clearly might be. For the purposes of limiting the present argument, we will address only the education of students in post-secondary institutions who are in principle capable of obtaining more of it than they currently are.

    All these factors, in short, important as they unquestionably are, may be seen as features or expressions of student resentment of a structure which seems or attempts to centralize other human beings. Thankfully, though, murder of professors is now comparatively rare. Again, following the historical narrative GA has opened for us, the fundamental aspiration of such resentment in our era is merely to convert subjection into reciprocal exchange.(15)

    Professors, we should quickly note, are frequent partners in this effort. Modes of deprecation, for them, both of self and of the broader project, are various. Open-neck shirts and jeans, an unintimidatingly average command of language, the use of colloquialisms, are obvious examples of salves to or defences against anticipated resentment of the fact that one stands solitary at the front of the room, while the other groups in a range of seats before and below; that one grades what the other submits. Another, more explicit strategy of accommodation is for professors to enter into a resentment they assume is common to both groups. To express or demonstrate resentment of, for example, the university, the discipline, culture or other putative usurpers of centrality. Even professors whose self-understanding is as opponents of “the market” may assume this posture, whose widespread imitation in every form in fact constitutes the market. It is worth reminding ourselves, that is, that resentment is the market’s life-blood. Every exchange dethrones a tyranny, an erstwhile monopoly on desire.

    Such professorial efforts might be critiqued as attempts to be students, to evade the opprobrium of power or responsibility in a victimary age.(16) But we must surely have some sympathy for a strategy that is everywhere adopted in the market world—and commercial advertising, for example, is generally much more abject. It must clearly respond to a genuine challenge. Such behaviours, taken broadly, can even be thought of as a form of politeness, itself a doubtless indispensable hedge against resentment. All politeness apologises for hierarchy—the emission of the first sign may even be thought of as the first act of politeness.(17) The question, really, in the current instance as ever, is only whether any of these tactics are effective responses to resentment—effectiveness here to be measured in terms of student educational success. And this may be doubted, given the outcomes we allude to above.

    The educational institutions themselves also strategically accommodate resentment’s aspirations—here we are on ground so familiar that we should perhaps vacate it quickly, despite the temptation to bolster our own solidarity through a resentful critique of university administrations or their governmental and private sponsors. To restrict ourselves for the moment, though, to the student-professor relationship, such accommodation proceeds by communicating to both parties the adoption of a principle of exchange. This is done through such devices as student evaluation questionnaires, which ask, for example, “how well the instructor conveys the material.”(18) Such questions can be mocked as invoking a kind of industrial operation involving hatches, belts and a central spout, but its underlying point is that higher education is now exchange, it effectiveness to be measured and its values established through market processes. Indeed, the very provision of teaching evaluations aspires primarily to accommodate, soothe or flatter resentment and only secondarily—and distantly so—to improve pedagogical practice or detect professorial malfeasance. If we can grade you, you can grade us. How effectively the practice achieves either goal is, again, another matter.

    Let us say then that we have, taken together, what we might call a posture, involving, for all participants, the expression, recognition and even facilitation of student resentment. Adopting this posture, we may add, is the truest or most basic sense in which higher education adapts itself to the market. For all that it must meet some evolving requirement of our situation, however, there are a number of problems with this response, and these too have been widely noted.

    Tuition, for example, does not generally pay for all of an education.(19) The exchange is by no means reciprocal, at least in the ways it is hopefully imagined or resentfully required to be. Taxpayers who themselves, or whose children will never attend the university help fund it, as do donors. Indeed, the funding of higher education conforms much more closely to the system of the gift as Marcel Mauss describes it.(20) It is a delayed and distributed reciprocity, not a direct exchange. Furthermore, public resentment of students treating their gift as an exchange or purchase is an active factor here, helping to lead, for example, to the raising of tuition rates, which in turn has the perverse effect of pushing students more fully into the de facto market, drawing still more of their time and energy away from study. Admittedly, this is a complex situation, with many variables and interlocking factors, as well as considerable differences amongst institutions and jurisdictions. Suffice it to say, for present purposes, that a student in the present day in North America does not exchange value his or her own for an education entirely paid for by such contributions, at least not in the same way that he or she might later purchase a house or a car or a vacation.

    Another problem is that the good the student arguably most needs to obtain, ostensibly through exchange, is precisely the ability to judge whether the exchange is indeed good or worthwhile. This leads to premature assessments of the process, often truncating essential further efforts. An educated judgement is required to judge an education.

    But perhaps the most signal difficulty is that the resentments fostered by the market create various kinds of static or feedback which interfere with education, even with the transfer of inert “material,” urging upon students a prioritization of difference over and above emulative adoption of the means to knowledge. Difference, identity, is at stake with every answer given, every expression ventured. Anger or diminished motivation and energy is experienced by students whose efforts and opinions are not treated with the respect their presumptive equality warrants.(21) Grades like this professor gives are no way to treat a customer. Or an equal. What often follows is the kind of cynical passivity which dully and repeatedly asks “what the professor wants,” as this is the price to be paid—but which is of course not at all the same as actually wanting what the professor wants.(22) Certain kinds of hard but uninspired and ultimately unproductive work, indeed, can even be seen as a form of passive aggression, that the historian of undergraduate life Helen Horowitz does not hesitate to attribute explicitly to “resentment.” (23)

    Another way to put all this might be to suggest that the market model can tend to foster a premature or over-intense desire for identity, a supposed “need,”(24) compromising the openness required for learning. We might here recall René Girard’s perilously zero-sum conceptualization of the model-subject relationship. The problem could be expressed thus: one must be a subject to learn, but only models prosper in the market. Identity, as achieved desire, is the enemy of desire, of desire for knowledge, among other things. Identity, if it might be put it this way, can be a form of the very ignorance which education seeks to discomfit or disrupt—and the market alluringly offers and purveys and then requires identity above all.

    Identity is what models possess and subjects desire. Or, it is a form of “firstness,” in the sense proposed by Adam Katz,(25) at least as experienced by the subject, whose subjection must feel like a kind of inchoateness, or incoherence, a fearful condition when surrounded by the apparently achieved identities that beckon mimetically on all sides. Beckon, challenge … even mock. Student resentment may in particular focus on the apparently full and achieved identity of the professor, not least in that he or she has that paramount attribute of market identity, a job, and then spill over into a corollary contempt for the hapless lower order of adjuncts, part-timers and TAs. These people, already so very little different, have the effrontery to demand I defer my aspiration to have what they have, to be what they are!

    Educators sometimes respond to such challenges by suggesting that students are indeed being offered an identity, the identity of the educated person. But students, once caught up in the toils of rivalry, are quick to see that this is in fact only a future identity, and a doubtful one at that. We are back to the logic of the gift, which the market urges students to reject in favour of more immediate and verifiable exchange. It is an “identity” of becoming, not of being. And I am (or need to be) someone already! And indeed, other aspects of my culture constantly reinforce and insist upon this claim.(26)

    One can well imagine such difficulties becoming more intractable the more “student-centred” education becomes—indeed, this slogan is another good example of the kind of reinforcement referred to above. We will return to it. The institution and then the professor risk the losing gambit of trying to distinguish and accommodate identities which are various, unformed, and almost by definition shifting and unsatisfiable—above all, which respond to overt attempts to identify or fix them by proliferating their differences.(27) The strategy, that is, falls into the feedback loop of desires and resentments, or what Girard calls mimetic rivalry. For the professor, the danger is obviously of self-consciousness, a term we may define as the distracting awareness or fear that our desires are subjecting us, that our model does not in fact derive them from us, or even share them naturally. Indeed, its paradoxical essence is a consciousness of others over and above the self, rather than vice-versa as the term might suggest. It is a preoccupying consciousness (justified or not) of the disconcertingly unaffected gaze of the other.(28) Unselfconscious desires even if always mediated are not experienced as such, or at any rate operate in that relation of defined distance from the model which Girard calls “external” mediation. (Don Quixote’s desire to be like Amadis de Gaul, in Girard’s famous example, is unselfconscious in this latter sense. He does not feel Amadis—or, really, anyone else—gazing at him. Hence the charm of such desire, its pleasing naivety.) The professor who might unselfconsciously desire, say, knowledge, or the improvement of society through education, when too much centred upon the student falls under pressure to abandon such desires in order to preserve cool, to protect him- or herself from subjection to a classroom full of other human beings with whom he or she has deliberately—we may even say perversely—entered into rivalry, into Girard’s “internal” mediation.(29)

    *

    Not of course that professors are entirely without means of mitigating all these problems, which many are to different degrees successful at doing—means often involving techniques to deceive or redirect resentment into pursuing ends which resentment did not itself originate. But, again, current outcomes, even with the use of such tactics, are still, and are generally felt to be, inconsistent and far from fully satisfactory.

    As this is a version, however, of the largest human problem, “the unending moral problem … of hierarchy,”(30) let us see if we can approach it as GA approaches the latter. How, for example, might Katz’s concept of “firstness” be applied to the pedagogical situation?

    We do this not merely for a justification of the centrality of the professor, a tactical ethical appeal to the longer strategies of morality. We also seek pragmatic ways in which such a conceptualization of the relationship might help sway hearts, minds and practices of both students and professors in order to further improve short- and long-term outcomes for all, in the interest of the greatest of reciprocities, a human flourishing beyond the mortal welfare of any of the immediate participants.

    The hierarchical structure of the professor-student relationship, then, let us designate an example of firstness, whose functionality is predicated on its eventual dissolution into enhanced equality—and indeed, as such outcomes go, sooner rather than later. Not for our students the millennia that Gans posits between the originary scene and the full adoption by women of the powers of language.(31) Students in the fraction of a single lifetime may themselves become professors, and may certainly out-earn them in any case.

    Even so, our first observation must be that all firstness will now be promptly and openly tested by resentment. We must eschew any response which merely deplores this fundamental feature of modernity: again, no nostalgia, no protests of the “is-nothing-sacred?” variety. As the present author has argued elsewhere,(32) resentment at bottom is, or at least poses, a question: why you and not me? Culture’s job is the provision of at least temporarily adequate answers, an adequacy verified only by their efficacy with the resentful questioner(s). Only, that is, by history. Higher education must participate in history. GA, we might also note, in the train of democracy, emerges historically as the human self-consciousness which could frame the relationship of resenter and resented in such terms. Self-consciousness, in this collective sense, means an awareness that our desires and resentments are indeed subjected to a centrality which they have themselves created—which I take to be the core chastening that the erstwhile Romantic, humanity, must derive from GA. At any rate, both democracy and GA should make outmoded such categories as heresy or even duty, and mandate responses—intelligible, respectful, implicitly egalitarian answers—rather than various forms of denial or suppression. The only heresies ought now to be those postures which attract no attention and yield no centrality, the only duties those whose performance is exchanged for some form of compensation—calls for self-sacrifice, generalized appeals to a sacred centre, theological, national, or of whatever provenance, are to be greeted with skepticism. We do ask what our country can do for us. “Values” are an attribute of identity, and thus not to be imposed. We resent any such attempt. We must be persuaded, heart and mind, shown why. We may be fooled some of the time, but not all of us, not all of the time.

    One of the most significant corollaries of GA is surely that other means of managing or supposedly stifling resentment, of the varieties grimly foreseen by modern pessimists—Orwellian, Stalinist or Maoist, Nationalist, Corporatist, and so forth, from the control of minds to the punishment of bodies—are to be viewed with a skepticism anchored in the unity of the human, the universality of resentment, and the long human history of firstness bearing the fruits of eventual reciprocity. Still, it must be granted that nothing in the originary hypothesis requires this history to continue indefinitely. The human project remains contingent,(33) which of course gives efforts like the current paper their point.

    Those who go first, it might also be useful here to remind ourselves, do not necessarily do so—and indeed it would impractical to require them to do so—out of any deliberate altruism or superiority of effort for the common good. Nor is all centrality associated with a productive firstness. Maybe the Big Man did work harder than everyone else … for a while. But maybe his son didn’t. And his lazy grandsons got out the whips. Resentment sees how centrality corrupts, sees this through its own angry longings. Sometimes only resentment-fuelled challenge, even violent challenge, eventually permits a firstness to produce a higher form of equality. We might hope that if GA permeated our culture’s understanding a certain consciousness of how the process works would moderate some of its fury. But the Big Men of modernity, those going first, whatever their motivations and degree of self-awareness, would still need to get ever better at explaining why they should be permitted their interval of centrality. At answering the questions of resentment. And answering them well—as duplicitous fobbings-off or self-righteous just-so stories will buy less and less respite from resentment and its various threats.

    An understanding of such modern realities must inform any attempt to transcend the impasse of resentment in higher education. Reading a lecture on the benefits to students of their submission for the time being to hierarchy—of self-stifling their resentments—will not do. This is not the sort of answer required, not indeed the real answer. One of GA’s debts to mimetic theory is the idea of the potent trend towards what Girard called metaphysical desire, the drift of desire away from the object and towards the model. While professors of good faith will strive to shift desire back toward objects—to “abolish” their firstness in a “collective equality”(34) of shared desire for some external good—they will deceive themselves if they think this can be managed by mere patience of explanation or intelligibility of instruction, important as these are.

    This is only to say that modelling is as ineluctable as desire is mimetic, and that education is fundamentally the mobilization of desire after particular human models. The particularity is really the only issue worth speaking of. Without desire, nothing is possible for students—the single most important factor in their failure, when they do fail and to the degree they do, is a shortfall of usefully focussed desire.(35) Broadly speaking, we claim here the primary importance of professors modelling a desire for specific kinds of knowledge over and above other kinds of goods in the market. Admittedly, to say this does not take us very far—it is, indeed, close to platitude, the widely shared goal of most educators. We must bear in mind Gans’s recent reminder that GA cannot “comport a value system,”(36) and note that the present argument only asks how better to realize objectives upon which a consensus already exists. It does not invent them—another reason why it makes sense to limit our focus here to the professor-student relationship, as a means of achieving established objectives. Students participate in forming this consensus, of course. Their voluntary presence in the classroom we again take as indicating at least tacit acceptance of the same objectives, even where their acceptance is only expressed in the paradoxical homage of resentment or soi-disant “subversion” or “re-purposing.”

    Originary analysis, however, may help us understand our shared goals better. We may begin, again, with the Girardian formulation. Higher education, thus conceived, requires the resistance to, the beating back of metaphysical desire. Girard calls this askesis, a renunciation of rivalry with the model, a retreat indeed from internal to external mediation, the abandonment of any aspiration to the model’s position. Clearly, some form of renunciation is what we are attempting to imagine in our chosen context.

    Unlike Girard, however, because our pragmatic is institutional rather than individual, we are not here initially oriented towards the subject. That is, we can hardly expect such a renunciation to begin with our students, and it does little good merely to call for it. It is more likely a hoped-for product of their education, than a plausible pre-requisite. Can we realistically ask of the model, the professor, then, such heroic self-sacrifice? To eschew, even undermine any tendency to offer him- or herself up as a model of achieved identity, in favour of presenting the spectacle of one deeply desirous, not desirable, him- or herself? Can we ask for this kind of firstness?

    If, indeed, desire is the enemy of identity and identity the freedom from desire, the professor it must surely be who first sacrifices the personal stability of identity to the desire he or she models for students. It is the professor who must model the heroic endurance of uncertainties, of incompleteness, so opposite from what the neophyte participant in the market craves. It might even be conceptualized as a kind of blowing or losing or recklessly throwing away of one’s cool. A professor who is hot rather than cool, one might hope, offers a very different model from others in the market. So we might put it, in these rather McLuhanesque terms—though not, of course, much in the way McLuhan himself used them.

    If the professor does betray what we might call an altruistic vulnerability-in-desire and abandons the zero-sum struggle for identity, we might say he or she does so in testimony to and repetition of the originary and fundamental acknowledgement of human vulnerability, which in like fashion abandons the struggle for dominance in favour of the peace granted by the sign. And does it first, before any form of appropriation, and ahead of any of the attendant circle of warily hungering students. Because that peace must come first. Peace makes possible the sparagmos and its satisfactions, including, at length, the creation of identity. The human difference from the animal world, we would thus remind ourselves, is this priority, this sequence. Here we begin to apply the characteristic GA enhancement of Girard. The professor who models this vulnerability, this incompleteness, rather than the coolness or freedom from desire that the sparagmos itself offers, performs what we might think of as education because he or she models, teaches, the all-enabling deferral, the posture of contemplation of the sign above that of consumption of the object.(37)

    From this perspective, the professorial function is to foster student responsiveness to the desires that are inherent in knowledge—knowledge itself, which must be represented, being the immortal form of otherwise evanescent human desire. Knowledge, professors must demonstrate, is really the sign, even if students think it is the object designated and the stuff of the feast. Even to “obtain” knowledge is ultimately to imitate and continue the desires of others, even if such knowledge is initially experienced as a personal possession, a conquest. The way, perhaps, even the originary sign initially was. It is, though, a virtual possession, and only has value because of the desires of others. It cannot finally be consumed or appropriated—only shared or imitated. This is to say, perhaps, to put it back into Girardian terms, and as Gans has in other contexts pointed out, that the human relationship to the sign is “externally mediated.” Higher education, we hardly need add, is of course rife with internal mediation and rivalry—but these are rivalries amongst persons. There cannot be rivalry with the sign any more than there can truly be with God, and the collective sign or knowledge is education’s god. The professor’s priestly function is to try to direct attention back toward higher things.

    He or she does this primarily by directing his or her own attention thither, to the exclusion of other, more immediately beckoning rewards. The authenticity of this attentiveness is perhaps not most reliably witnessed through protestations of love and desire, however, but through attained knowledge, the eloquent, unselfconscious testimony of long devotion. Here, too, is one often-acceptable answer to the question of resentment. Why are you at the centre and not me? Because I know things that you don’t.

    Still, even great knowledge can be worn in different ways. If some knowledge is not the spur to attaining more it falls back into the attributes of an identity, an object for consumption, not the evidence of an ongoing desire. Such modelling, that is, can only be effective when adopted in perfect sincerity—no tactically adopted posture will be proof against the heightened alertness to desire in the market world, and amongst those, the young, most intensely and continuously concerned with distinguishing the faked from the genuine. The rigours of this requirement might render it rare enough in practice. But even where one could imagine it, surely no individual professor’s modelling of desire can be expected to be determinant for very many students, no matter how intense, sincere or openly betrayed. Saints are perhaps a necessary but insufficient component of any faith—and by a similar measure, while some smaller group of students may be the truly converted, the relative improvement of the broader mass must still be aimed for. The perfect must be made the ally of the good, or at least, of the better.

    Somewhat less demandingly ascetic practices, more likely to be required of and adopted by the professoriate generally, might yet be only roughly of the kind just described, and still be valuable. More of this anon. The broad goal of any such practices, though, would always be to tune down the static of resentment sufficiently to allow the desirability of the object to swim back into view, or not be entirely displaced in the first place. Because, again, this putatively distinct object—knowledge—contains within it, or channels, a vast reservoir of human desire. To be educated is to be energized, moved, by this great power, to be shifted from one trajectory into another by the gravitational pull of its immense mass.

    The power to move is also in the market, of course. But the market, like exchange itself, is a phenomenon of a given moment, even if it operates now across considerable global space, whereas human knowledge extends through both space and time. So perhaps, to continue the religious analogy a moment longer, the goal of higher education for the many can be thought of as merely to encourage what is humbly called “longer-term thinking.” And if this risks reducing its methodology to dangling a crude promise of an eventually superior capacity to appropriate, on the model of pie in the sky when you die, doubtless this is better than the model of an exchange of tuition fees for an immediately deployable credential to be redeemed forthwith in the job market. And, again, we can’t all be saints.

    *

    Our analysis, then, surely suggests that professors must respect students as participants in the market, must remain unshocked by this, and not underestimate the potency of the rival powers pulling them towards other orbits. It is anthropologically naive to think students ought, by themselves, to understand their predicament in these terms, or to know better. To strive to educate them more effectively is not at bottom to “resist the market” but to compete more effectively within it.

    But in attempting to win this competition it is unhelpful for professors to flatter resentment at the expense of the higher value of the peace brought by knowledge. To avoid doing this, they need as much as possible to ignore or be insulated from the feedback, not be drawn into a struggle over identity. Professorial modelling should not be of a persona, we might say. It should be of a desire for knowledge, whose productivity can and indeed must be displayed through a demonstrated accumulation of it—professors should know things. Not just different things than their students know. More and more valuable things. By attending first and above all to the signs that are knowledge, they should model the beauty of those things, not the coolness of knowing them.

    If, however, professorial firstness is thus ultimately to be embraced and not abandoned or apologised for, it must also be constantly leavened with an explicit humility. This firstness, its posture must make clear, is itself actually a “secondness.” After the originary scene, all human sign-creation is secondary, a repetition, gesturing to that which has already taken precedence. While it may be that all goods traded in the market—from cars and foods to houses and holidays—are to be thought of as signs, the difference with education, and knowledge, is in this explicitness. Knowledge really is only signs—and the askesis modelled by the professor should remind students of this.

    Or, let us say again, the transaction between professor and student more closely resembles a Maussian gift than it does a market exchange.(38) It is the first phase of a delayed reciprocity. The professor gives, not just knowledge, but the modelled means of desiring and receiving it, as a gift whose anticipated return is distributed outward across space and generational time.

    This latter formulation does evoke the parallel situation of parent and child. The relation between professor and student, however, must be to a crucial degree more impersonal—as measured by the primacy of the professor’s commitment to the external good of knowledge. The professorial posture is thus not, in this sense, student-centred,(39) and indeed, students are unlikely truly to want it to be. In seeking identities in the market, students for the most part aspire to an emancipation from this kind of attention, which they rightly sense is at bottom not egalitarian. They want no more parents—or, rather, they now typically want parents to merge into the continuum of friends and rivals, partners in exchange. But with parents, as perhaps ideally with professors, the most basic feature of the ongoing relationship is latent, only overlaid by such superficial transformations. We speak here, again, of deferral: the gift does eventually establish a relationship of equality, but does so through the requirement it contains.(40) Only when that requirement is fulfilled, is equality realised.

    Practical corollaries of these points might be gathered together under the alternate slogan “knowledge-centred education.”(41) They might include an emphasis on the continued professional coupling of research and teaching both in preparation for and during a teaching career, the clear subordination of student evaluation and the resultant Faculty of Education style “training” for professors to primary research achievement as criteria for measuring performance, and a willingness to countenance measurements of student success along broader and longer-term scales of human possibility, as opposed to the tactical shorter-term measurements of market exchange. Indeed, ultimately, students and professors should be evaluated by the same criteria, for the same kind of achievements.

    Beyond this the present exploration should perhaps not go, except to note that all such emphases prioritize the sign—and take this as an invitation to return to, and conclude with, originary analysis. Evidently enough, to value deferral is to direct attention to the sign as opposed to the appetitive object which it designates. The most significant of all our corollaries probably has to do with the specific character of the attentiveness our recommended pedagogy may seek to foster. That the classroom is a very particular “scene of joint attention”(42) seems obvious. And that its kind of attention is purchased through a deferral of appropriation would appear equally fundamental—a restatement of venerable educational principles in originary terms. But what may perhaps be usefully added now is the way the kind of analysis attempted here makes higher education proximate to what GA has conceptualized as the aesthetic. That is, to the extended or privileged attention to the sign, in the oscillation between sign and object. We touched briefly on the beauty of knowledge above. But, to take a final and perhaps more troubling step further, to the extent we speak of or aspire to a “higher” education we also align our goals and procedures with those of “high culture,” as against those of popular culture.

    This distinction, for GA, is of course only one of degree, or of emphasis. In the oscillatory aesthetic experience “the moment of [high] art looks back to the renunciation of appetite implicit in the sign, whereas that of entertainment looks forward to the appetitive satisfaction of the communal feast which will follow.”(43) Both phases are integral to any aesthetic experience, but the longer or more intensely such an experience looks “back” or “forward,” attends to the formal qualities of the sign or imagines the consummation of the desires that sign awakens, the more clearly we may speak of high or popular art. This is far from an isolated insight, and is to be found in different forms in many other commentators—one might cite Frank Kermode’s well-known distinction between “spiritual and carnal reading.”(44)

    While higher education rightly assumes that everything can and should be studied, very much including popular culture, the mode of attention it requires remains that characteristic of high culture. To acknowledge this is, of course, to risk reawakening venerable resentments of the privileges associated with that culture. But to answer these resentments the case must be made—to professors as well as to students of any discipline—that the core value to be preserved from that culture is a specific kind of attentiveness. This, high art and higher education are best positioned to model. The objective is reducible, even, to the idea of lengthening attention span, as the fundamental action education performs. Humanity itself, an originary re-statement of the same principle might claim, is the product of education. Indeed, of one “lesson” above all, repeated in an infinite variety of modes and forms. The attention suddenly shared between the object of desire and its sign—the lengthening of that attention over the crucial original interval of deferral—taught the profound lesson of the sparagmos.(45) This is still the good exchanged, the benefit purchased, the gift bestowed, less through the payment of tuition fees than in the energy and time and labour expended by students, and modelled to them by true teachers.

    *

    A coda.

    To lengthen attention span is very certainly also to strengthen memory—a dangerously eroding faculty amongst students now entering institutions of higher education. The originary scene’s repetition as ritual introduced and made revolutionary use of the faculty of memory. As one might also phrase it, the temporal dimension of the scene—the moment of contemplation of the sign—allowed a vertical escape from the hitherto tyrannous horizontality of time.

    Thus memory, in a paradox perhaps Wordsworth most famously explored in English, enables what that poet called intimations of immortality, of futurity, of potentiality. If knowledge is not an object but the sign of desire, to pursue it is by definition to defer satisfaction, in the name of something greater and more fundamental to the fullness of human life. As he put it in a famous passage,

    Our destiny, our being’s heart and home
    Is with infinitude, and only there;
    With hope it is, hope that can never die,
    Effort, and expectation, and desire,
    And something evermore about to be.
    Under such banners militant, the soul
    Seeks for no trophies, struggles for no spoils
    That may attest her prowess, blest in thoughts
    That are their own perfection and reward,
    Strong in herself, and in beatitude
    That hides her, like the mighty flood of Nile
    Poured from his fount of Abyssinian clouds
    To fertilize the whole Egyptian plain.(46)

    Notes

    1. “Abraham’s Three Firsts,” Chronicles of Love and Resentment no. 435, December 30, 2012, https://anthropoetics.org/views/vw435.htm. (back)

    2. “The Market and Resentment (1),” Chronicles of Love and Resentment no. 286, June 28, 2003, https://anthropoetics.org/views/vw286.htm. (back)

    3. We will also make some use of GA’s important progenitor, the “mimetic theory” of René Girard, which we for convenience subsume here. (back)

    4. After a prominent contribution to the species, Bill Readings’ The University in Ruins (Cambridge: Harvard University Press, 1997). (back)

    5. Amongst others, Helen Lefkowitz Horowitz’s Campus Life: Undergraduate Cultures from the End of the Eighteenth Century to the Present (New York: Knopf, 1987) provides a particularly rich narrative. Still, for all that changes, she concedes that, for example, “Anger” has been “the characteristic mode of college professors” in response to their students from the late eighteenth century to her own present day (xi)—and no doubt been fulsomely returned. Pedagogical theory, we might say, has yet to find a means of educating without centrality, or inoculating that centrality against resentment. (back)

    6. For a description of the GA concept of the originary scene and other basic features of the hypothesis, see https://anthropoetics.org/gaintro.htm. Very briefly, on the foundational human scene, a gesture of appropriation is aborted and converted to a sign, which is then imitated. This happens once, at the moment of human origin, and is then repeated in ritual form. Not that more secular re-enactments haven’t been attempted. In bygone days, for example, engineering students annually “sacrificed a virgin” before Henry Moore’s modernist sculpture of “The Archer” in Toronto’s Nathan Phillips Square. Supposing that he or she was a virgin, this did perhaps approximate some kind of deferral of appropriation on the part of these aspiring proto-humans. Perhaps, as Stacey Meeker has suggested to the author, there were only undergraduates on the scene. (back)

    7. “Human history may be described as the never-completable transition from the ritual system of distribution … to the market system, where no central authority is necessary to mediate between human beings beyond the universal human order of representation through signs.” Eric Gans, “The Free Market,” Chronicles of Love and Resentment, no. 34, March 16, 1996,https://anthropoetics.org/views/vw34. (back)

    8. Rebekah Nathan, in her illuminating account of a year spent doing anthropological field work amongst undergraduates at a twenty-first-century university, makes this point. She sees little value, for example, in increasing contact time between professors and students, citing her own observations and surveys of student opinion that rated the “faculty” as of low importance generally to the student experience. This is doubtless a useful chastening—we must ask why she might have obtained such results, and whether and how professors might gain or regain some purchase on the desires of their students. My Freshman Year: What a Professor Learned by Becoming a Student (New York: Penguin, 2006), 140. (back)

    9. The History of Rasselas, Prince of Abissinia, 1759. The great English critic and moralist concluded his early account of the modern career search with a rejection of the enterprise and an affirmation of the superior value of the “choice of eternity.” This aspect of the work has not caught on so well. (back)

    10. “School,” must generally now be made to accommodate, to work around “my job.” (back)

    11. Costs, and rewards, have clearly risen above the rate of inflation for professional degrees. Whereas, at least in the Canadian context, it is far from self-evident that a degree in the Humanities costs more in constant dollars in the 2010s than it did in, say, the 1960s. What count as necessary expenses while pursuing the degree has obviously also changed. (back)

    12. This, clearly enough, is the problem of “relevance,” in one of its forms. Relevance can only ever be established, it might be worth remembering here, by asking and answering the question, “whose desires”? And remembering that desires are mimetic. (back)

    13. In the originary scene, to continue a brief introduction for those not versed in GA, human attention “oscillates” between the sign and the object of desire it designates, between the “vertical” axis of transcendence and the “horizontal” one of appropriation. The aesthetic effect is that part of oscillating attention which is devoted to the sign, and this in turn may oscillate between attention to the formal qualities of the sign and the imagined gratifications of appropriation, the sparagmos or feast which concludes the scene. The distinction then, between high and popular art, is one of the duration or intensity of attention devoted to the two poles, with high art more devoted to the form of the sign and popular art to the imaginary consummation. See Eric Gans, Originary Thinking (Stanford: Stanford University Press, 1993), 171ff. (back)

    14. The climactic line of the 1967 film classic of the same name. The bitterly anti-authoritarian ironies of the cinematic context may certainly be allowed here. (back)

    15. From laziness—which resentfully strikes a personally chosen “deal” with the providers of presumptively empty benefits concerning the level of energies the student in question is prepared to exert in order to obtain them—to the most frenetic devotion to other, competing gods whose promised returns seem sweeter, the operations are finally all of the same basic character. (back)

    16. For an introduction to “Victimary Culture,”, see Chronicles of Love and Resentment no. 40, April 27, 1996, https://anthropoetics.org/views/view40.htm. (back)

    17. I am sorry, implies the first sign, to have presumed I might be the first to eat this, this, this very desirable morsel. That I am impelled to this archaic form of humility out of the fear that the rest of you will tear me apart does not change its fundamental character. (back)

    18. This is from the author’s own institution, the University of Ottawa. (back)

    19. The proportion clearly varies, but in Canada, for example, although it has risen in recent decades, the percentage of the cost of educating a student provided by his or her tuition never exceeds about 45%. http://www.ousa.ca/dev/wp-content/uploads/2011/09/Tuition.pdf The for-profit, online universities are doubtless an exception to this principle, but their current share of the market remains very small. (back)

    20. The Gift: The Form and Reason for Exchange in Archaic Societies, 1924. Trans. W. D. Halls (New York: Norton, 1990). (back)

    21. The promise of equality is made, in GA’s hypothesis, on the originary scene, in the sharing of the significance of the first sign. All subsequent arrogation of centrality, from the “firstness” of the individual to emit that sign, through the long train of hierarchical social arrangements thrown up by the ethical development of humanity, is ultimately a usurpation, which must be justified to resentment. GA’s conception of the never-to-be-complete transition from ritual to market social structure implies, again, an intensification of that resentment and the concomitant pressure on those in the center, very much including professors, either to justify or abandon their claim to it. (back)

    22. Anthropologist Michael Moffat interestingly reflects on what he calls “Undergraduate Cynical,” noting how it is “just as mandatory and just as coercive as other forms of discourse” but that for this very reason must be assumed, “performed” by students amongst their peers. This might remind us of the contingent and malleable character of the desires for which professors compete, and of the uncertain territory we enter when we attempt to know and adjust ourselves to these desires, rather than more or less obliviously model the desires we ourselves feel. Moffat gestures to, if he does not really accept, the parallel difficulty with using any sort of empirical approach to measure or even really detect the sincerity of student resentment. Coming of Age in New Jersey: College and American Culture (New Brunswick: Rutgers University Press, 1989), 90-91. (back)

    23. Horowitz identifies the first appearance of the phenomenon of “grinding…. Confronted with the awesome weight of faculty power, early-nineteenth century collegians turned from open rebellion to the covert war of the classroom. The New Outsiders [of the late twentieth century] merely retreat to a deeper cover. Blocked from a frontal or even side attack, they do an end run. They create the culture of grinding…. They must check any signs of open rebellion, even to the point of not allowing themselves to feel it.” Campus Life, 269. (back)

    24. As we note above, the category, for human beings, must be treated with skepticism. The wholesale conversion of desires into “needs” in pursuit of various kinds of market benefit is, however, too large a story to do more than gesture to here. (back)

    25. See “Remembering Amalek: 9/11 and Generative Thinking” and many other references. https://anthropoetics.org/journal/ap-vol-10/ap1002/amalek/. (back)

    26. “You gotta be who you gotta be!” exclaims a poster, directed at the young. Its authors clearly imagine their slogan to be emancipatory, beckoning towards freedom from desire in a paradise of achieved and embraced difference. But it surely communicates even more strongly the entirely unfree imperative to secure, defend and impose upon others such difference. You “gotta” do this, indeed. This also from Canada, part of an endless series of government campaigns to improve popular behaviour, following the diagnoses of our shortcomings and theories for their remedy current in the social sciences. Others are aimed at alcohol consumption, domestic violence, and so forth. This one, with surely rather exceptional naivety, imagines it can induce the young to follow their own clean-living natural urges and reject the insidious and artificial modelling of drug-use and other vices. Somewhere in its ancestry is David Riesman’s discovery that the great problem with modern society is that its people are “other-directed.” The Lonely Crowd. New Haven: Yale University Press, 1950. (back)

    27. We do not, of course, imagine by this to be able to return to thinking of students as “blank slates” upon which anything may be written, by professors—to deny the existence, as it were, of DNA. But the post-modern valuation of difference, with its concomitant claims of social, economic and historical victimhood, has surely understated the malleability of the human individual in the interest of a political program. Implicitly denying the power of mimetic desire, this is one of the romantic illusions denounced by Girard. (back)

    28. One result of this problem is the adoption by the professor of various routines or practices which release him or her from the discomfort by imposing a persona upon students. For example, as Peter Schwenger reminds us, professors become skilled “performers” who practise an “erotics of instruction… in which the more my energies … expand, the more those of my students contract into an appreciative but ultimately passive spectatorship.” “Chili Pepper Pedagogy” English Studies in Canada 31.4 (December 2005), 30-31. This a very clear description of the rivalry over identity, in which the professor emerges as a clear victor, and education loses. (back)

    29. A shameful instance insists upon itself—perhaps we may excuse it because it is an anecdote about a professor, not a student. Said professor—and mind you, this was in Europe and in the previous century—returned a mathematics test in which no errors were noted, with a grade substantially below 100%. The student, understandably, was curious to know why this might be, if everything was right. “This grade,” she was told, “represents how much you know, by comparison to what I know.” (back)

    30. Eric Gans, “Originary Ethics II – Firstness and Hierarchy,” Chronicles of Love and Resentment no. 432, September 22, 2012, https://anthropoetics.org/views/vw432.htm. (back)

    31. “Originary Feminism,” Chronicles of Love and Resentment no. 419, February 11, 2012, https://anthropoetics.org/views/vw419.htm. (back)

    32. Lord Byron and the History of Desire (Newark: University of Delaware Press, 2009), 138. (back)

    33. A perspective which also informs Gans’ “Originary Ethics II,” cited above. (back)

    34. “Originary Ethics II,” cited above. (back)

    35. The techniques of transferring material are then less to the point: once one has desire, and the attention span and memory it fosters, one can perhaps get material anywhere, including online. This might lead one to wonder at the high drop-out rates and the lack of truly notable success thus far experienced by online course offerings in higher education. The question certainly needs further study, but might it be speculated that the lack of the immediate bodily presence of the professor mutes his or her capacity to model desire? Mind you, screen images, in cinema, have exerted a powerful capacity to attract desire, to say the least. (back)

    36. “Originary Ethics II,” cited above. (back)

    37. This posture is perhaps not easily distinguished—but one must—from uncertainty and wavering self-confidence, which of course are very poor modelling devices. Perhaps what would be ideal is the model who could have been cool, but isn’t. Who, like Socrates in his profession of knowing only his ignorance, demonstrates every qualification for a superiority he or she is nonetheless compelled not fully to exploit, subjected as he or she is to yet other models and other desires. An identity which risks identity. (back)

    38. Not every element of Mauss’s formulation pertains, and certainly the donor’s ability to exert the control Mauss saw in “archaic” societies has weakened. Even parental gifts, of care and other legacies, may now quite easily go unreciprocated, for all that memoirists and novelists speak darkly of the lingering power of their progenitors, their capacity for inducing sentiments of culpability and so forth, the blindingly obvious change of modernity is in its elders’ now feeble hold on their own and others’ young. (back)

    39. The phrase can of course mean many things. Discussion at GASC VII for example connected it with a pedagogical practice which stressed the acceptance of student efforts—however flawed by relation to established norms—as foundational of further achievement. Such an approach is certainly to be lauded when effective. But we might say that the professor taking it models an enthusiasm for the development of new knowledge, a desiring openness for it. What the technique presumably does not say is that because the student produced something, it is of value—any more than it says it is for the same reason worthless. In this sense, might the better phrasing be “education-centered”? (back)

    40. “What power resides in the object given that causes its recipient to pay it back?” The Gift, 3. (back)

    41. This phrase has also been used by Roger Scruton, with whose formulation the present argument shares some perspectives, but from which it also differs in signal ways. “True teachers do not provide knowledge as a benefit to their pupils; they treat their pupils as a benefit to knowledge. Of course they love their pupils, but they love knowledge more. And their over-riding concern is to pass on that knowledge by lodging it in brains that will last longer than their own. Their methods are not ‘child-centered’ but ‘knowledge-centered’….” Culture Counts: Faith and Feeling in a World Besieged(New York: Encounter Books, 2007), 29. The present argument does not require so instrumental an approach, for example, and its analysis and proposals hopefully do tend directly toward the betterment of students. Our GA-inflected understanding of knowledge as desire-in-the-sign means that the pedagogy we promote aims not at transmission of something fixed in character, but at fostering a capacity to respond to that desire. (back)

    42. The phrase is that of Michael Tomasello. See Richard van Oort, “Imitation and Human Ontogeny: Michael Tomasello and the Scene of Joint Attention.” Anthropoetics 13.1 (Spring/Summer 2007).https://anthropoetics.org/journal/ap-vol-13/ap1301/1301vano/ (back)

    43. Eric Gans, Originary Thinking (Stanford: Stanford University Press, 1993), 171. Other parts of this discussion are pertinent to our argument. For example, that “the high esthetic accomplishes the deferral of resentment through the sublimation of appetite in the sign” while the popular aesthetic “denies the askesis of the sign by anticipating the alimentary satisfaction that follows its emission in the originary event” (173). (back)

    44. “Carnal readings,” Kermode adds, “are much the same. Spiritual readings are all different.” Indeed, in the communal sparagmos we eat the same food, the same way. But each of us contemplates the sign in our individual solitude of desiring consciousness. The Genesis of Secrecy: On the Interpretation of Narrative (Cambridge: Harvard University Press, 1979), 9. (back)

    45. I must thank Adam Katz for alerting me to the directness of this application, at GASC VII at UCLA. It might be apropos here to distinguish attention span, the time a student is able to genuinely spend focussed on one thing, from its polar opposite, the much-celebrated “time management,” that form of juggling which insists upon the measured, and brief, interval of flight allowed any given object of consciousness before it is caught and tossed again. (back)

    46. The Prelude (1850) 6.604-16. (back)

  • Eichmann in Obamaland

    Every literate person has a secret list of books that every literate person is assumed to have read but that he has not. And occasionally in a weak moment he reveals a little piece of the secret, a book or an author that he has somehow never got around to.

    For me, Hannah Arendt’s Eichmann in Jerusalem (1963, rev 1964) was one of these books. I was a student at Johns Hopkins during the time of the Eichmann trial, so cut off from the world that for years I was unaware of the 1961 Bay of Pigs fiasco. By the time I had become familiar with Arendt’s work, The Origins of Totalitarianism and The Human Condition in particular, I had heard so many bad things about the Eichmann book that I was not disposed to read it. Arendt had been particularly reviled for her unsympathetic attitude toward the members of the Jewish Councils (Judenräte) obliged to deal with the Nazis during the Holocaust, an attitude of superiority easy to assume from the security of the United States. And her insistence on the artificiality of the “show trial” and its propagandistic function in Israel was a slap in the face to the authority behind the kidnapping of Eichmann from Argentina, Israel’s founder David Ben-Gurion.

    Finally reading the book, still very much in circulation, in the context of the antisemitism project that Adam Katz and I have been working on produced something of a surprise. Although Arendt was a famously arrogant yekke, as the Jews of the Russian pale called the urbanized Jews of Germany (yekke being Yiddish for jacket), I did not find her irony particularly harsh, and above all felt that her critics were unfair in attributing to her a position above the fray, when she considered it her duty, precisely as one who had herself escaped the horror, to attempt to define the peculiar moral universe within which Eichmann operated, along with the other Nazis and “good Germans” as well as the Jews themselves insofar as they were forced to participate, however unwillingly, in the process.

    Despite Arendt’s commitment to concrete historical analysis and her impatience with the notion of an “eternal” or transhistorical Jew-hatred, the Eichmann book willy-nilly puts into question the circumstantial analysis of antisemitism in her earlier The Origins of Totalitarianism (1848, rev 1976). Arendt reproaches Ben-Gurion and the prosecution with treating the Holocaust, and consequently Eichmann’s part in it, as the result of a “foreordained destiny” of Jewish persecution, and scornfully points out that the prosecution’s insistence on the eternity of antisemitism tempted Eichmann’s defender to suggest that the motives behind the Holocaust were “beyond understanding” and consequently could not establish his client’s guilt. Yet the very horror of the Holocaust at the same time puts this rejection of “eternal antisemitism”—although in no way the guilt of Eichmann and the other Nazis—into question. The genocidal nature of Nazi anti-Judaism revealed something new not just about “totalitarianism” but about the place of the Jews in the Western world. The question as to whether it is the genocide itself that was unique or the Jews’ special relationship with the West that made a “final solution” an eternal temptation is not posed specifically, but it remains in the wings throughout the Eichmann book, and even the apparently unrelated question of the “banality of evil” is all but inseparable from it.

    Because the Holocaust puts a unique emphasis on the ancient idea that the Jews deserve special opprobrium for whatever they do on their own behalf, whether they attempt to earn money—by exploiting non-Jews in a “special” way—or to have their own country—by treating the previous inhabitants in a “special” way—it obliges us to seek a “special,” transhistorical category for the object of “the longest hatred.” This hatred is itself a self-reinforcing sign of “election” that generates resentment against the Jews. Perhaps we have learned from the renewal of antisemitism in recent decades that there must be something more to it than a series of hostile reactions to the given historical circumstances in which the Jews found themselves. The classic dialogue answering the question of who was to blame for WWI, “The Jews and the bicyclists!” “Why the bicyclists?” “Why the Jews?” can take us only so far.


    In Science and Faith I interpreted Jesus’ apparition to Saul on the road to Damascus as a demonstration of his divinity from the fact of his persecution. Saul’s hostile obsession with Jesus’ followers is made to provide proof that he already shares their object of worship. But I might also have pointed out that the New Testament concentrates in a single individual what was already the paradoxical firstness of the Jewish people—the difference, heavy with consequences, being that the Jews as a people cannot, like the crucified Jesus, offer themselves for worship. They do offer their God, and both Christians and Muslims are willing to worship him, although neither could give full credit to the Jews for having discovered/invented him. But if persecution is tantamount to worship, then the Jews have been worshiped throughout history, culminating (but surely not ending) in Hitler’s attempt to make Christianity’s sacrificial conjunction literally true by doing to the Jews as a people what the Romans had done to one Jewish man.

    As Girard emphasizes in Des choses cachées…, the Jewish religion is the “highest” form of worldly religion. Whether Christianity’s addition of a new layer of transcendence to the simple Jewish covenant between God and Man is “necessary,” its overall success suggests that it was a so to speak inevitable experiment at “going beyond” Judaism and the Jewish nation. In this respect, the Holocaust suggested to many that the experiment had failed. Although the Nazis were anything but good Christians, they were deviant heirs of the Christian tradition in which their antisemitism had its roots. That Arendt tended to minimize this fact in her study of antisemitism in The Origins of Totalitarianism reflected her disinclination to liberate herself fully from the philosophical universe in which she was originally trained, where Jewish firstness has no legitimate place. Whatever distance his apologists (including Arendt herself) might want to place between Heidegger and Nazism, he clearly had a favorable reaction to National Socialism’s rejection of the Jews as the originary nation, that is, as one whose relationship with God was not (or better, minimally) rooted like that of the Germans in the “Apollonian” soil—to use Ivan Slezkine’s pregnant distinction between “rooted” Apollonians and “rootless” Mercurians in The Jewish Century (Princeton, 2004).

    Thus one crux of the Eichmann book (the Christian core of this term is not accidental) is the degree to which Jew-hatred is universal or arbitrary. For a Girardian–and I increasingly think that the task of adherents of GA is not to “deviate” from Girard, but to be the best Girardians, those who understand his concepts most deeply, in particular his key concept of the scapegoat-emissary victim–the status of the Jews as the scapegoat people is central. Its personal incarnation in Jesus must not lead us to avoid the question of the originary status of the Jews into whose collective shoes Jesus was made to step. Thus another way of putting the above reflection on Girard is in terms of Judaism and Christianity: what is it that Christianity has taken over from Judaism? If Christian “monism” conflates the peripheral people with the central divinity, what is it in the Jewish experience that makes this comprehensible, not to say, necessary? And in the context of her Eichmann book, how does Arendt’s reflection on the Holocaust help us to answer this question?

    In The Origins Arendt insists that the historical moment of antisemitism corresponds to the becoming-superfluous, if not of the Jews themselves, then of their specific function as an “international” nation, one exemplified by the Rothschild brothers, each of whom was located in a different European capital and whose bank(s) could consequently accomplish more than any localized one. This role was itself an extension of the Early Modern function of the “court Jew,” as typified by “Jew Süss” Oppenheimer in the duchy of Württemberg, whose tragic end was immortalized by Veit Harlan in the most notorious of all Nazi films. The Nazis, one might say, defined themselves against Jew Süss, the supposedly indispensable but in fact parasitic and corrupting “court Jew,” who retained the privileges of his caste, or at any rate its wealth, while no longer serving a “useful” social function.

    Needless to say, historical realities need to be examined in detail; they cannot be blithely assimilated to “concepts” in the Hegelian dialectic leading to “the end of history” (although I wish Francis Fukuyama had worked a bit harder at adapting this term to historical reality instead of attempting to demonstrate its pertinence in its original Hegelian terms). But even if following Arendt we stipulate that obsolete Jewish privilege was a determining factor in the emergence of modern antisemitism, it is still possible to point out the “conceptual” interest of emphasizing the latter’s continuity with earlier forms of Judeophobia. To take the similar case of the old landed aristocracy, which in 18th-century France retained many privileges that in England had become converted into economic ones, provoking a violent revolution that the English avoided, this caste was wholly defined by its privileged role in European society. This was, like that of the Jews, an international role, and we know the powerful effect of the sans-culottes’ loathing of Marie Antoinette, l’Autrichienne. But the Jews, whatever privileges they may have been granted on occasion, were more than just a privileged/stigmatized class within the European nations in which they resided. They were a nation unto themselves— the oldest nation—and any functions they may have carried out as “court Jews” or international bankers derived from that status rather than the other way around.

    No doubt the decline of the importance of Jewish banking after the start of the “imperialist” era in the last third of the 19th century made the Jews more vulnerable to antisemitic attacks. But that is only to say that they owed their (temporary, relative) lack of persecution to the indispensable nature of their services. When they were nothing but “dispensable” bankers and merchants, instead of blending in with the crowd, they were singled out for attack, and their diminished power fantasized as a conspiracy of world domination. It is hard to imagine that the Jewish contribution to the economy (say in lending money) was objectively “less useful” than that of Christians performing similar functions. If antisemites resented Jewish wealth, it was not because the Jews “deserved” it less than other wealthy participants in the economy; it was because they were perceived as belonging to an alien nation whose riches, however integrated economically, were felt to be separate from those of the national community.

    Ironically, the Jews were at the same time making great efforts to become integrated into those communities, notably in Germany and Austria, where their presence was being systematically resented. In this regard, Slezkine’s Mercurian-Apollonian analysis, although it does not quite grasp the uniqueness of the Jews, captures the essence of the situation better than Arendt’s. As Marx had already put it, in modern bourgeois society, the Christians had become Jews, in the sense of participating in the bourgeois market. The Jewish proficiency in Mercurian pursuits reflected their separation from the Apollonian Blut und Boden, but its ultimate foundation was the Jews’ originary covenant with “their” God. The difference, in a word, can be summed up as that between an originary, hence maximally abstract relationship to the sacred, mediated by the sacred words of the Torah, and every other, necessarily more territory-based relationship. Much could be said about the “dialectical” emphasis of Christian and post-Christian antisemites such as Voltaire on the “materialism” of Jewish ethics in contrast with the conceptual purity of Christian morality. The separation of “pure” morality and real territorial polity was the secret of the success of the Western Christian nations, but its roots lay in the ethical unity of the Jewish nation. GA permits us to trace this separation, the original sin of metaphysics, back to its originary roots.

    In Eichmann, Arendt no longer needs to repeat her earlier analysis; the Nazis’ expulsion and extermination of the Jews is so extreme as to render nugatory any conceivable evidence of Jewish “parasitism.” If the Holocaust had one positive outcome, it was in making clear the absolute nature of antisemitism as reflecting the originary role of the Jewish nation as the discoverer/inventor of monotheism. To exterminate the Jews is to universalize the non-originary relationship of the nations (goyim) to the sacred; it is, in effect, to abolish the anthropological discovery principle that the Jews embody, to destroy the path they offer back to the scene of human origin. The Germans-Aryans could be “first” only by annihilating those who were historically first. Indeed, this destruction fetishizes Jewish firstness as demonic, as being itself a blasphemous intrusion on the sacred—whence antisemitism’s obsession with black-mass images, most notably in the “blood libel.” But for the Jews, their firstness is nothing but a sign of God’s confidence in establishing their human status as first among equals.


    No doubt the most celebrated detail of the Eichmann book, one that has relevance both beyond the Holocaust and for our understanding of the Holocaust, is the catch-phrase that ends the main part of the book and that Arendt used as her subtitle, although she nowhere explicitly discusses it in the text: the banality of evil. Linked to this, although not in an obvious way, are the harsh words for the Judenräte that many found so offensive.

    Arendt accuses these Jewish Councils set up by the German occupiers, generally by co-opting the local Jewish leadership, of having involuntarily facilitated the extermination process by providing lists of individual Jews and their properties, even collecting their keys, and encouraging them to obey assembly orders for “evacuation.” No doubt only an extremely arrogant person, as Arendt no doubt was, could turn so cold an eye on those who were, as she was not, forced to make what they thought were the best choices under the most hellish circumstances. Even in cases where one might accuse these Jewish officials of (no doubt unconsciously) setting their own self-interest over those of the general Jewish population, one must always admit that under such extreme duress none of us know how strong we would be in resisting not only brute force but the hopeful delusion that cooperating “will make things better.” This is particularly true when fig leaves were available to make cowardice appear as reasonable prudence. As Arendt herself illustrates in the case of Dutch Jews who attempted resistance and who were slowly tortured to death, non-cooperation with Nazi officials could well have had dire consequences, and not necessarily for the Jewish counselors alone. Indeed, although we find it repugnant to think of such things, Nazi extermination methods (gas or a bullet in the back of the neck) provided their victims with a relatively “easy death,” one that, as Arendt points out in a wickedly ironic passage, Germans contemplating mass suicide at the end of the war thought of as something to envy. (She has an imaginary German personage complain in the last line of Chapter 6, “And now all that good, expensive gas has been wasted on the Jews!”)

    “The banality of evil” is an expression of the limits of human goodness, of humanity’s capacity to be responsible even in the worst of times for the deferral of violence. Some collectivities, such as the Danes, showed themselves to be far nobler than others, and Arendt gives several examples where Nazi fanaticism gave way when deporting Jews from a given locality ran into determined resistance. But the success of the Danes could hardly be used as an argument against the members of Jewish councils in Czechoslovakia or Poland. Circumstance is the main determining factor, and the latitude for action of the King of Denmark cannot be compared with that of even the most “dictatorial” of Jewish leaders, such as Leo Baeck (who survived the war), whose scornful description as “the Jewish Führer” of Theresienstadt Arendt removed when her New Yorker articles were converted into a book.

    The terrifying aspect of “the banality of evil” is that once social norms, however monstrous, are established, the path of least resistance for all concerned is to follow them. One of the most unfortunate calumnies to which Arendt was subjected was that with the “banality” idea she had exonerated Eichmann for his crimes. On the contrary, she sought to make us vigilant lest we assume that we will find the evil of such as Eichmann overtly repellent in its Satanic nature. She wants us to be aware that Satan does not merely tempt us with power and pleasure; he tempts us most successfully with the comfortable feeling of banality.


    Thus the great lesson of Eichmann’s “banality of evil” for our own time and place is not to be sure to protest when we see our neighbors leaving for the gas chambers, but to be vigilant lest the appearance of a well-ordered democratic society permit bureaucratic rules to mask the fundamental values of human decency. The same tendencies that allowed a conscientious bureaucrat such as Eichmann to become, if not the mastermind the prosecution claimed, in any case an active, willing instrument of an inhumanly murderous policy are present in a lesser form in our own society.

    Before we think we have been cured of any such temptation, we should remember that the Nazis’ bullying, like that of the Bolsheviks, was founded on the resentful conviction that they were the victims. Nazism was successful because, under the difficult circumstances in which Hitler came to power, the Germans were all too happy to see themselves as victims of the treachery (der Dolchstoss, the stab in the back) of rapacious, power-hungry Jews. Ironically, the conscience-free ease with which today we defend and espouse the resentments of officially recognized groups of “victims” derives a supplement of self-righteousness from the Holocaust; yet it is in its essence as old as humanity.

    We might like to imagine that the great killers of old, the Attilas and Genghis Khans, killed for the mere pleasure of self-assertion. Perhaps a conqueror needs no supplement of resentful rage to realize that a pile of skulls is a powerful publicity device. But whatever Nietzsche willed himself to think of the matter, the monstrous exercisers of the will to power in the modern world, whether in Cambodia or Rwanda or wearing suicide vests, act quite transparently out of resentment. Which is to say that, far from indulging like the Marquis de Sade in the Satanic dream of seeing themselves as evil incarnate, they consider themselves not as oppressing, but as avenging themselves on their oppressor. The Nazis, in this regard, were merely responding to Edouard Drumont’s despairing call in La France juive (1886) for the “Aryans” to awaken to and from their despoliation by the Jews. No doubt it is easier to act out one’s resentment toward a helpless minority than to one capable of adding your skull to his pile. Jewish powerlessness, in conjunction with the Jews’ millennial survival on the sheer strength of their firstness, make up the fundamental configuration of antisemitism through the ages. It is not simply sympathy for the Palestinian Arabs that makes the existence of powerful Israel a scandal.

    But just as the Jews are no longer the sheep of old going to the slaughter, the victimary position they once occupied out of necessity has become consciously, if not quite honestly, coveted, not simply for the unique glory of the scapegoat (think of Camus’ L’étranger, whose resentful pose Girard exposed in a seminal PMLA article), but as a means of self-advancement. One explanation for America’s extraordinary litigiousness is that it permits the victim to seek revenge on the “oppressor,” or tortfeasor in judicial terminology.

    Once the victimary paradigm has established itself, evil’s sheer banality far outstrips anything known in Eichmann’s day. The “objective observer” had little trouble after or even during the fact in grasping the moral monstrosity of the Nazis massacring the “parasitical” Jews, the Hutus slaughtering the “haughty” Tutsis, the Khmer Rouge exterminating their French-speaking or glasses-wearing betters. But in the realm of postmodern victimocracy, who is the victim and who is the victimizer is not so easily determined.

    As always, the victim claims the right to be compensated for her victimhood. As did the Nazis, the Hutus, the Khmer Rouge, and La Fontaine’s wolf taking revenge on the lamb (Si ce n’est toi, c’est donc ton frère) for his persecution by the latter’s human friends. Ah, say the victimocrats, but now, things are different. Now those who seek revenge against their oppressors are truly victims. After all, they belong to officially recognized victim categories. How could their cause possibly have anything in common with that of the great monsters of history?

    We will never know how Arendt would have answered this question. But I hope that her probing analysis of the Eichmann trial, rightly understood, will help us to avoid answering it too quickly.


  • More on the Humanities

    We’ve lately been hearing a great deal, including at this year’s GA Summer Conference, about the struggle of the humanities to keep up with the sciences, or “STEM” (science, technology, engineering, mathematics) as they tend to be called in ed circles. As readers of these Chronicles know, our idea of a “new way of thinking” can be understood as a way of defending the uniqueness of the human, and as a consequence, defending the humanities as not simply a product of human activity but, including the supremely human phenomenon of religion, as humanity’s principal way, distinct from that of natural science, of understanding itself. GA defends religion, in the great tradition of Durkheim and Girard, as providing a fundamental understanding of the human scene; the paradoxical side of religion, which philistines like to denigrate as counterfactual (six days? virgin birth? God speaking to Moses?), expresses the paradoxical aspect of the human community, which is founded on the scene of representation and its fundamentally paradoxical structure (the sign designates its referent as already possessing the significance it only acquires by being designated by the sign).

    The MSM of the intellectual world are not yet ready to appreciate that GA’s contribution to these debates goes beyond the boring old clichés. Yet although the clichés remain much the same, their focus changes with intellectual fashions that in turn reflect focal points of tension between humanistic and scientific thought. And in the current pseudo-controversy over the humanities, those who take an interest in our way of thinking may be able to find grounds for a glimmer of hope.


    Recently the New Republic hosted an exchange between Steven Pinker, representing the sciences (“Science is Not the Enemy,” August 18, 2013), and TNR‘s own Leon Wieseltier on the side of the humanities (“The Plot Against the Humanities,” Septermber 16, 2013). It is notable that Wieseltier, an old-fashioned liberal who is something of a hawk and a strong supporter of Israel, also defended Thomas Nagel in his dissent from the “Darwinism” of the natural-philosophical establishment (see Chronicle 444). Which is to say that Wieseltier is sympathetic to religion both in itself and in its connection to the humanities, a connection he in fact draws in his article, defending religious discourse forcefully, albeit in the standard post-Enlightenment mode, as not literally true but requiring “interpretation”: God’s six days are not our days. But if Wieseltier fails to grasp the connection between the Creation and GA’s originary hypothesis, he is not alone.

    The reader may recall that a few years ago, in reaction partly to the increasingly religious cast of American conservatism, partly also to the post-9/11 salience of the “fundamentalism” of Islamic terrorists, a number of writers (Richard Dawkins, Daniel Dennett, Sam Harris, Christopher Hitchens…) produced “atheism” screeds attacking religion with arguments mostly familiar to readers of Voltaire. Religion’s defenders, in response, repeated the usual clichés about spiritual values, the mystery of Creation, etc. As the continual rationalization of the technico-economic world since the Early Modern era (a development Pinker feels obliged to defend against pathetic attacks from “embattled English professors” and “tenure-less historians”) has opened our minds to the virtues of the scientific method, in compensation, it has made the thinking class less tolerant of religious discourse.

    The current debate over the “humanities” covers much the same terrain. One might even consider Thomas Nagel’s Mind and Cosmos, referred to above, as a transitional piece; Nagel defends the need-for-something-other-than Darwinian rationality without, however, proposing an alternative beyond vague speculations about “teleology,” while treating with a certain respect, although ultimately rejecting, the “theistic” alternative. No doubt there is nothing in Nagel about the “humanities,” but it is significant that his argument takes the opposing perspective from the previous spate of attacks on and defenses of religion. In the earlier intellectual environment, religion was presented as a powerful social reality that posed a threat to the Enlightened intellectual world. In Nagel’s world, in contrast, it is positivist rationality—”scientism” if you like—that constitutes the danger; the “Darwinist” uniformity of his peers strikes him as an unsatisfying dogma that stifles creative thinking about the fundamental ontology of the universe.

    Nagel’s work and the (to be charitable) dubious intellectual enterprises of Creationism and Intelligent Design (although the latter’s pseudo-scientific apparatus makes dealing with it much more tedious) have from a GA perspective the same interest: they point up not simply the spiritual aridity of the natural-science approach to anthropology but its fundamental inadequacy as a human ontology. My readers will forgive my reiterating that the virtue of the religious pseudo-sciences is to give, albeit in an unsatisfactory framework, intellectual respectability to the key religious intuition of humanity’s scenic origin. However naively Creationism apes scientific modes of thought, it expresses the valuable intuition, inaccessible to positive science, that religion’s insights into the human condition are constitutive of our understanding, and cannot be dismissed as God-of-the-gaps “spiritual” suppléments of our ignorance concerning “ultimate” questions. This understanding is not “scientific” in the sense of being reducible to empirically decidable hypotheses. Nor is the minimal originary hypothesis of GA testable or verifiable. There is no need to declare such verification impossible in principle and for all time; the point GA shares with religion, and more broadly, with the humanities in general, is that we need to understand the foundational configuration of the human, the scene of representation with its sacred center, now. We cannot wait for some hypothetical future means of verification/falsification; we need a heuristic.

    Hence we may say that Nagel’s critique of the naturalist-Darwinian doxa expresses the same intuition as Creationism, but in a more intellectually responsible, if more sterile way. Yet the great interest aroused by Nagel’s disillusionment with naturalist dogma suggests that the valence of the debate has changed. The atheist critics complained that there was too much irrational, or let us rather say, paradoxical, humanistic thinking; for Nagel (although no doubt he would not put it that way), there is not enough.


    The current controversy over the humanities reflects this changed valence. Wieseltier’s response to Pinker turns the tables on his attacker in a way that the defenders of religion, given their weak foothold in the American intellectual class, were unable to do. Although his arguments are no more rigorous than those of the defenders of religion, the esthetic domain, which makes no claim on “reality,” is not vulnerably “counter-factual” and its fundamental importance to humanity is consequently, unlike that of religion, not subject to controversy. It comes as no surprise that the recent “attack on the humanities” has not produced titles like Art is Not Good or The Esthetic Delusion.

    Instead, what we have is more an academic discussion than a polemic. Pinker’s expressions of respect for the humanities may be “condescending” but they are certainly an improvement over the atheists’ diatribes. No doubt Wieseltier has some reason to be offended by Pinker’s suggestion that the humanities tend to be taught in an uncreatively “traditional” manner. For Pinker, the “digital humanities” (humanities research projects using computers) alone bear the promise of arousing renewed interest in their subject matter. Pinker makes the bald claim that “several university presidents and provosts” have complained to him that, in contrast to scientists who typically request funds to pursue an “exciting new research opportunity,” humanities scholars just ask for “respect for the way things have always been done.” Maybe this is because the latter’s budgets, unlike the former’s, have been cut—the real crux of the “plot against the humanities”—and they are unable to replace retiring faculty with young scholars working on “exciting new” projects. In any case, the real scandal of humanities teaching today, surely the main source of the decline of the old ideal of “liberal arts” education and the funding that goes with it, is neither old-fashioned scholarship and teaching nor the “scientism” of the still highly marginal “digital” domain, but the rampant victimary (“PC”) trend that has undermined the literary canon and subordinated esthetic judgment to identity politics. (I suspect Wieseltier would largely agree with me on this point, but it is not one raised, if only for diplomatic reasons, in this particular exchange.)

    What is really at stake in this debate? Pinker’s conceit that the sciences are under attack from humanists is no more than a rhetorical device. As he well knows, universities today are largely financed by the grant money attracted by their science faculties. Indeed, the condescending reference to “embattled English professors” makes clear that he is less defending “scientism” than attempting to throw a lifeline to humanities departments to help them get back some of their lost budgets via “exciting new research opportunit[ies].” For unlike religion in the previous debate, the very existence of the high culture of the humanities, let alone the arts as a whole, is not at stake. Nor is there any danger that literary and similar scholarship will diminish to the point that the culture of the past will be irrevocably lost. No doubt popular art needs the counterweight of high art if it is to remain authentic, but there is no reason to assume that the drive to esthetic transcendence is preserved only in university departments. In comparison to the atheism-religion controversy, the stakes of the present debate are far lower (although it may in fact have more effect on the fate of the weaker side in contributing to the raising or lowering of university humanities budgets), and the debate far more civilized.


    The world of the humanities (as any count of Anthropoetics articles makes clear) is far more welcoming to the ideas of GA than that of religion and even philosophy. Although I think GA reaches its sharpest focus in the domain of “first things” as a minimal originary hypothesis, there is little common ground between believers (who often participate in religious rites) and unbelievers (who often denounce such participation as superstitious). In contrast, like Pinker and Wieseltier, we all “believe in” the humanities; the “battle for/against the humanities” is essentially about its relative importance in university budgets. But once one accepts that the humanities are essential, one is open in principle to the argument that their very existence tells us something more fundamental about the human than the individual details of the works themselves. This is, in simple terms, the argument for “theory,” but it can only be put in rational terms if “theory” is given a basis in human reality, that is, not as a mode of the “deconstruction of metaphysics,” but as an anthropology—and as all good GAers know, anthropology, properly conceived, is in itself the deconstruction of metaphysics.

    Clearly Wieseltier has a point in remarking that efforts at the “scientific” study of the humanities are mechanical and at best peripherally informative, whereas “humanistic” interpretation has the potential to articulate the (always paradoxical) knowledge of the human contained in artworks, thereby enhancing our respect for them as well as our enjoyment of them. On this point I would not claim that GA offers a magic key to interpretation. It is less a “research program” or a “method” than a basis on which the understanding of artworks can be built. The scene of esthetic representation evolves throughout history in ways that in the small are unpredictable but whose overall patterns reflect (not always in obvious ways) the evolving organization of society itself. In The End of Culture and Originary Thinking, I sketched a history of this scene, from the classical era to the postmodern; in The Scenic Imagination I drew a similar outline for those thinkers, beginning with Hobbes, who anticipated GA in attempting to provide, in however abstract a fashion, originary, scenic models of the social order (Hobbes, Rousseau, Freud) or of originary language (Condillac, Herder). This work, whatever its flaws and limitations, demonstrates the power of an open-ended yet universal theory of the human, a humanistic anthropology, to articulate principles of comparison among the different modes of human interaction.

    Grasping in theory the unity of the human scene allows GA to do more than merely accept the existence of C. P. Snow’s “two cultures.” Whatever science discovers about the neurology of the esthetic experience, not to speak of the circulation of books or the chemistry of medieval pigments, it is limited by the same thing that limits its discussions of religion: its inability to theorize the collective, scenic origin of these phenomena, which is also the origin of the human. To say this is by no means to impose limitations on the discoveries of human evolution, or for that matter on the sociological analysis of religion and art. GA is a minimal originary hypothesis, not a historical doctrine. But in beginning from the premise that the fundamental characteristics of humanity emerge in a scene, a self-conscious mode of interaction wherein the exchange of signs defers potential mimetic violence, it provides the student of art as of religion with a simple but powerful anthropological framework for the understanding of cultural creation.

    Art is not, cannot be “straightforward” like a rational argument that abolishes itself in its conclusion. For if the deferral of violence is the “end” of culture, then it follows that this end must never be explicitly present. We desire the end, yet enjoy the interval, and are obliged to admit that it was the interval we “really” desired; as Pascal put it, it is the hunt the hunter desires, not the quarry. The atemporal version of this description of the esthetic is that, whether “fictional” personages or gods, language and other representational signs always designate as already existing objects that they themselves create. If art does this less “naively” than religion, it is in turn more naïve about the origin of its very possibility: yes, we paint pictures and “make up” stories, but whence comes our ability, unique in the universe, to do such things?


    Understood at the outset of our interaction with the works of culture, these principles provide humanists with an abstract common ground for understanding—one on which new debates will always be free to arise. The deferral of violence must take ever new forms if humanity is to survive its fateful invention of “weapons of mass destruction.” Is it a coincidence that Pinker recently devoted a book (The Better Angels of our Nature: Viking, 2011) to demonstrating how much more peaceful life has grown over the centuries? Science has surely greatly contributed to these positive developments. Yet I think Wieseltier as a fellow humanist would be likely to agree that deferring violence, as Europe did with some success from 1815 to 1914—a period that students of colonialism find less pacific—always risks becoming, as in 1914, a prelude to the reemergence of violence in more terrifying forms.

    Both sides must be right: we must always both welcome peace and fear violence. This suggests that both must be right about science and the humanities as well. Just as with religion and atheism, we not only need both, but we need for them to argue about the boundary between them. Let us hope that humanists will increasingly realize the intellectual advantages GA’s model offers their side of the argument.


  • The Meme, Revisited

    I have always been unhappy with the notion of the meme. Back in 1999, I wrote Chronicle 173 entitled “Toujours le Meme” [Always the same] where the Franco-English play on words expressed my impatience with the vagueness of what struck me as a pseudo-concept that presumed to define a category of phenomena—a cultural “unit”—by the mere fact of giving it a scientific-sounding name.

    But more recently, conversations with my wife Stacey Meeker, whose studies in information science have led her to deal more concretely with the meme phenomenon, have persuaded me to relent somewhat in my skepticism. My change of attitude also reflects the fact that the times have, rather quickly, changed. The success of the term “meme” is no longer dependent on over-ambitious claims for a science of “memetics”; instead, the term is associated with reproducible images or videos and other small-scale cultural artifacts that regularly go viral on the Internet. The term is indeed useful in the Internet era, if only because the expression Internet meme has itself become a meme.

    At the just-concluded annual GASC meeting at UCLA, Matthew Taylor gave a Skype presentation in which he described the meme more or less along these lines, as a unit not of thought or “culture” but simply of propagation. Thus for Matthew, what gets called a meme can be any phenomenon, not even necessarily a representation, that is easily propagated through a large decentralized cultural network (the very existence of the Internet makes it unnecessary to specify the nature or internal structure of this network). I would add that “propagation” here is not necessarily accurate reproduction of an identical artifact, but is at least potentially the new production of an artifact that is part of a family of artifacts, halfway between repeating a word, which merely adds a new token to an already-existing type, and creating a new work of art. To propagate a meme is, typically if not always, to make the effort to create a new member of a family of artifacts linked by a common formula or template, and it is the reproducibility of this template that defines the success of the meme.


    There was indeed a central flaw in the original notion of the meme, one that was clearly in evidence in the earlier presentations of the term, beginning with Richard Dawkins’ The Selfish Gene (Oxford UP, 1976). Its increasing acceptability appears to be the result less of an evolution than a devolution of the original concept: the “forgetting” of its originally fundamental characterization as a selfish replicator. This forgetting has resulted from the evolution of the Internet, with its vast possibilities for rapid transmission; whether we imagine the meme as somehow replicating itself on the analogy of a living creature, being copied mimetically, or simply being transmitted by word of mouth from one person to another, the important thing is that the meme is something that spreads, presumably quickly and “virulently” enough so that we consider the spreading itself, rather than the content that is spread, as its most salient quality. Hence the approximate replication of a given set of bytes no longer seems to command Dawkins’ original analogy, compelling although anything but parsimonious, of the meme with the gene as agent of the reproduction of life. Living things and their DNA are marvelously complex and improbable, and their replication allows only a very limited margin for inaccuracies; nothing is more easily reproduced than memes. Although not every cat video idea goes viral, the difference between a failed and a successful one is wholly out of proportion with the difference between a non-reproducing mixture of organic chemicals and a living organism. Even a virus has to contain most of its own mechanism of self-reproduction; a meme on the Internet needs no such internal intricacy.

    And this goes to the heart of the problem. For saying that memes “replicate” themselves like animals or viruses is to use a metaphor that is not just inaccurate but fundamentally inappropriate. As so often in our scientistic age, the model of biological evolution invades the domain of human culture without respecting its specificity, which only a humanistic perspective can maintain. The notion of replication suggests that the meme is active and those who are colonized by it passive. Given this passivity, the cultural collectivity brought together by a meme appears as a formless mass rather than a social order, and whatever the transmission route of the meme, its resulting propagation must be modeled by the laws of epidemiology rather than of cultural diffusion.


    This Chronicle was inspired by an insight into the original aim of the meme-concept that I gained from reading at Stacey’s suggestion the introduction to Robert Aunger’s The Electric Meme (Free Press, 2002), one of the better turn-of-the-millennium works on the subject. Aunger’s book was written scarcely a decade ago, but it is old enough for it to have appeared before the Internet meme. (Imagine a meme book written today in which YouTube doesn’t figure in the index.) At the opening of the Introduction, Aunger offers as his first example of a meme a notion from the domain, not of viral videos but of witchcraft. As he tells us, in the course of African anthropological fieldwork, he encountered “people who believe that witches can attack you in your sleep and eat your brain” (1). He wonders if believers in witchcraft suffer from “cognitive dissonance” between these ideas and the rational thoughts that govern their lives’ practical activities. And this provides him with an opening for the meme: “Maybe these ‘crazy’ witchcraft beliefs are some kind of parasite on their minds, able to perpetuate themselves somehow, serving their own needs. They certainly don’t seem to make the life of anyone who holds such beliefs any better…” (1).

    Aunger was trained in anthropology, but like most American anthropologists he has probably paid little attention to the anthropological ideas of Emile Durkheim, little known and less appreciated by American social science. Yet the contrast between religious ideas that are “crazy” and practical ideas based on experience of the real world is central to Durkheim’s understanding of the sacred and of the social organization that it serves. The point of sacred ideas is not to tell us about the world, but to maintain communal “solidarity.” Calling religious ideas “memes,” a practice that Dawkins and his followers have taken well beyond the “crazy” domain of witchcraft to the central beliefs of major religions, is precisely the point where “memetics” comes into contradiction with anthropology.

    Religious ideas, even “primitive” ones, are not “parasites,” and even ideas as “crazy” as those of witchcraft are freely affirmed by their believers rather than invading forces. How curious that after pooh-poohing as absurd the notion that witches can attack you in your sleep and eat your brain, Aunger affirms the even more absurd notion that the idea that this might happen can attack and parasitize our brain, presumably in broad daylight. What in fact could be more redolent of witchcraft than the idea that some ideational configuration in our brains has, even metaphorically, a survival drive of its own that selfishly carves out its territory within our nervous system against our will and to our detriment?

    We need not make the concept of the meme bear a permanent stigma from its origin, but paying attention to its original role as a biological transfiguration of the social concept of the sacred gives us an insight into the problematic nature of the meme concept, as well as providing a plausible link between Dawkins’ invention of it and his subsequently foregrounded militant atheism. Aunger’s example brings out more clearly than anything in The Selfish Gene that the original purpose of the meme was to create a cultural analogy to Darwinism as a means to clarify the “mystery” of the uniquely human phenomenon of representation in general and sacred representation, or religion, in particular. By treating representations as virus-like “parasites” that “replicate” “selfishly” within the host on which they are dependent for their sustenance, the memeticist avoids concerning himself with the ways in which the emergent phenomenon of human culture is qualitatively different from rather than merely analogous to the process of biological evolution. This is not to deny that the analogies are of interest; but the fundamental problem of the originary function of representationthe question of human origin as a solution to the problem of mimetic violence—is thereby eluded.

    Indeed, the idea that memes are representations, that is, free human creations, is just the opposite of the doctrine that conceives of them as “selfish” parasitic entities. If we choose as our meme example a tune, this seems independent of human language, comparable to a bird’s song, which as we know may be learned rather than genetically determined. But the ease with which we learn tunes has more in common with the ease with which we learn poems rather than prose than with animals’ mimetic facility. If representations have mnemonic features this is precisely because it is memorability that is their essential feature.

    All representations, whether formal or institutional, to use the terminology of The Origin of Language, ultimately refer to a communal experience of deferred violence, to the originary sacred. The aspect of representations that makes them “memes,” their ease of retention and transmission, has nothing to do with “parasitism” and everything to do with their capacity for maintaining the social order. Musical rhythms and sounds, as well as verbal expressions, have been since the beginning part of ritual. No doubt there is an overlap between the mnemonic salience of a given series of notes or words and the biologically similar salience of a series of stimuli unrelated to representation, but the point to note is that human culture has appropriated wherever possible the biological facilities of such stimuli for its own purposes, and that the memes that make use of them are saturated with cultural values. However useful the notion of the meme may be in the era of the Internet, it must first be purged of its biological and anti-cultural bias. Memes are not alien parasites; they are human creations.

    In the years that have passed since the first rash of books like Aunger’s, the meme has par la force des choses been divested of its biological bias. Or to be more precise, what might at first have been taken for biological contagion has given way to cultural contagion with what we might call a Girardian inflection. The analogy between a plague and a mimetic crisis does not give one a license to assimilate the artifacts of culture to microbes. A “viral” Internet video is human-created and meant to entertain us, not to “parasitize” our brains, however tempting the analogy between seduction and infection. We might just as well claim that high-calorie foods are parasites that use us to multiply their numbers—and no doubt we would if they were not, unlike memes, distributed by corporations. Human contagion, as Girard sometimes forgets to make clear, is mediated through cultural mechanisms that, whether or not they derive from an originary “scapegoating,” are perpetuated through systems of representation and deferral. That is ultimately the lesson of the meme.


    The fact that the Internet has come to dominate the use of the term “meme” suggests that Dawkins’ biological analogy has found its “mature” meaning in the designation of the spread of essentially trivial, but creativity-inducing and unambiguously cultural material through an informal, decentered network. Since in principle the meme does not convey useful information any more than the language of the sacred, it is an essentially esthetic object, a template for a minimal scenic event.

    The key characteristic of the (Internet) meme that has brought about the association of the adjective with the noun is its “rhizomatic” mode of distribution. Going viral is only possible for a phenomenon in which each new host becomes in turn a node of distribution, either sending on a manifestation of the meme, or (and this is in principle always possible) adding a new instance of his own. The similarity of this centerless distribution to the “contagion” of the sign in the originary scene is no accident. The meme is a sign whose popularity grows within the group; its esthetic reality provides a center of attention that is more important for the peripheral signers it brings together than for its own reflection of universal scenic truth. The “real” scene of the meme is less its own esthetic scene of representation than that of the social universe in which it operates. The meme creates a temporary sacred by offering a minimal form of the scene of representation. We attend to it, however momentarily, in preference to other distractions. No doubt it comes to us always-already popular; but this popularity is not unearned, it reflects a real claim on our interest, one that suffices after the take-off of its “viral” expansion to guarantee its continuation until saturation is reached. To accept to “host” a meme, one must freely agree that it at least minimally answers one’s expectations, allowing us to repeat it and at least tempting us to exemplify it for ourselves.

    It is, I think, one more sign of the ultimate persistence of humanism, of the intuition that the human and its culture are fundamentally unique, that the notion of the meme, which was originally a biological analogy designed to allow us to conceive of esthetic and especially religious culture as composed of “parasitic,” self-perpetuating patterns, and whose lack of reference to practical reality suggests despite their status as human creations an alien, material rather than spiritual origin, can on the contrary provide a model of the cultural object and ultimately of the originary event of human representation. We should not regret the evolution of the term away from its biological origins. As we have seen so many times since the Enlightenment, all the efforts of mechanistic rationalism cannot reduce culture to nature, nor the human to the animal. Man cannot be theoretically reduced to living by bread alone.


  • Why Generative Anthropology? — Guest columnist: Peter Goldman

    This is the text of Peter’s “Introduction to GA,” delivered on June 27, 2013, at the opening of the 7th Annual Generative Anthropology Summer Conference at UCLA:

    There have been many attempts to set the humanities on a scientific basis: phenomenology, structuralism, sociobiology, various functionalist accounts. Yet, in my estimation, there has been only one successful attempt, and that is Generative Anthropology (GA), the first real science of the human. But we have to immediately qualify this statement because GA is not a science in the same sense as the physical sciences; the verification process for our claims is not the same. And GA does not really belong among the social sciences either, even though what we do is certainly compatible with their practice. Nor is GA a “theory” in the same category as contemporary textual theories like post-colonialism or deconstruction. And finally, GA is quite different from any kind of traditional humanism. Rather, GA is a truly new way of thinking.

    If we want to categorize GA, we can say that it is a theory of the origin of language or representation, although it is much more than that. So the first question we need to answer is, why do we need a theory of language at all, if, for example, we’re trying to understand a work of literature? After all, scholars of the humanities have been going along just fine for hundreds of years without any theory of language or its origin. But any analysis of a work of literature (or cultural artifact) necessarily implies a theory of language, the basis of literature and culture. If we talk about works composed of language, this implies that we know what language is. And this is a problem, because the understanding of language assumed in many such analyses is naïve at best, and incoherent at worst.

    A definition of language is required to place the humanities on a truly scientific basis. Clifford Geertz writes, “The initial problem of any science [is] defining its object of study in such a manner as to render it susceptible of analysis” (Interpretation of Culture 362). So in truth, a theory of language is not optional. We need to uncover our critical assumptions, examine them carefully, and create a definition which can be defended against all objections. Without such a conscious and reasoned definition, humanistic inquiry will remain ad hoc. The only way to avoid subjectivism or “undecidability” is through a rigorously constructed hypothesis of our origin. With such a theoretical foundation in place, we can make genuine progress, establishing the answer to key questions, and building on previous work. GA gives us a basis on which to evaluate the existing body of humanistic scholarship and sort out the gold from the dross.

    Another reason why we need a coherent theory of language is to answer the deconstructive critique of meaning as “undecidable.” Deconstruction has had a profound effect upon literary criticism, but even its proponents haven’t always appreciated that Derrida’s critique in effect renders humanistic inquiry incoherent. If one finds Derrida’s arguments persuasive, then all that is really left is faith or poetry, or just repeating the deconstructive critique over and over, applying it to new material, but always coming to the same conclusion. Many people, of course, don’t find Derrida persuasive, but they haven’t succeeded in refuting his claims. It’s true that deconstruction is always vulnerable to a pragmatic critique. But pragmatism cannot answer the important questions raised by deconstruction. GA is the only successful attempt to fully take into account Derrida’s work, incorporating his insights, refuting his errors, and actually going beyond it (see Eric Gans’s article “Differences” in Modern Language Notes [MLN] v. 96 no. 4 [Spring 1996] pp. 792-808).

    The third reason we need a coherent theory of the origin of language is because anthropologists and linguists have established that language is radically different from animal communication. If we could believe that human language is simply a more advanced form of animal communication, then we wouldn’t need a theory of origin; although, I would suggest, we would still need a theory of the origin of animal communication. Human language has syntax, we can talk about ideas, things that are not present, and so on. But many anthropologists haven’t really appreciated the significance of these facts, and they still talk about animals having culture, and they still look for a genetic basis of the origin of language. And even anthropologists who recognize the unique quality of human language haven’t really understood the basis of the singularity of human language, which is not fully explained by the formal differences, but rather by its communal, scenic character, a point to which I’ll return. If language is really qualitatively different from animal communication, then it follows that the best way to understand it is in terms of its origin.

    The first claim of GA is that a hypothesis of the origin of language is the necessary basis for the study of human culture. Eric Gans has presented one such hypothesis, which provides the foundation for the application of Generative Anthropology by its followers. We welcome critiques of Gans’s hypothesis, suggestions for change, or even a wholly new hypothesis of our origin. Discussion of the conditions for our origin is the starting point for GA.

    The second claim is that the origin of language is an event. This claim is a great stumbling block to many people. Everything that distinguishes one species from another can be explained in terms of evolution, that is, adaptation over millions of years. Even in the punctuated-equilibrium theory of evolution, the time frame is still thousands of years for speciation. So why would human language be any different? And we know that language does have a physiological basis: the descended larynx, the large brain, the genetic predisposition of children for learning language, and so on. So if language did not originate in a genetic mutation, that would be rather remarkable. A unique event in the history of our planet; a claim that seems hubristic to many scholars. Purely in terms of empirical observation, however, it’s clear that humans are unique. No other species has religion or art, not to mention culture and language. If an alien species visited us from another star system, surely the most notable feature of life on earth would the vast difference between humans and all other species. And what is this difference? Consider this: in a ritual, the human community is present to itself as a community. There is no animal analogue for ritual in this sense. Social animals have social orders, no doubt, but except for humans, they are not based on ritual and symbolic representation; they are either purely genetic, as with bees and ants, or the social order is established on the basis of one-on-one encounters between individuals, as with a dominance order, found in many mammal species. It’s true of course that animals do have quasi-ritual stereotypical behaviors, what are called mating rituals for example. But again, these are not communal in the human sense, and they are instinctual, not conscious, as with language. If language is in fact cultural and not simply instinctual, it follows logically that the origin of language must itself be cultural. And if language is something that we do consciously, then it follows that the origin of language was itself conscious. But why couldn’t conscious, cultural behavior evolve slowly, just like every other distinction between species? Why couldn’t animal communication evolve into human language? We have to keep in mind the radical difference between language and animal communication systems; if this difference is truly radical, then it must have an origin at a point in time. It’s like being pregnant; one is either pregnant or not. There’s no such thing as being a little bit pregnant. It’s the same thing with language; even if we start with a very small degree of linguistic consciousness, it’s still a radically new quality.

    The claim that the origin of language was an event also follows from the scenic, communal nature of language. Genetic modifications happen first at the level of the individual, after which they are either passed on or not, depending on whether the individual is successful in reproducing. But the origin of language is necessarily a communal event because its function is social or interpersonal. Once a human group has language, then individuals will become adapted to the existence of language, by evolving larger brains and so on. Without language, the various evolutionary changes we underwent would not be adaptive. For example, why are humans the only species with such large brains proportional to our body mass? For other species, larger brains then they have already are simply not adaptive, because of the energy costs involved in maintaining them. It’s because we have language and culture that a large brain becomes adaptive. Human evolution is driven essentially by the existence of language.

    So the next question is, what kind of event is the origin of language, and what motivates it. Why does language exist at all? Professor Gans defines the human as the species for which conflict within the group poses the main obstacle to survival. In other words, our crucial adaptive problem is with each other, not with the environment, as is the case with every other species. Human history bears out the claim that humans are a violent species. My colleague in the Anthropology department informs me that it’s more accurate to say that our species is marked by our ability to cooperate and our many institutions for avoiding conflict. But this is a false dichotomy. The reason we have so many cultural institutions for avoiding conflict is because we need them. Building on the pioneering work of René Girard, Eric Gans notes that our violent tendencies are derived from our facility for imitation or mimesis. Mimesis is an adaptive learning behavior and as such can be considered a form of intelligence. Our evolutionary path, even before language, is directed towards flexibility, the ability to adapt to many different environments, rather than purely instinct-driven behaviors. One condition for flexibility in behavior is the ability to learn different behaviors by imitation. But imitation, like all genetic adaptations, has a competitive element. We imitate in order to compete with others. And imitation can lead directly to conflict when an individual imitates another in the attempt to appropriate a desirable object. The principle of parsimony dictates that if we have language, it is because we need it. Gans’s hypothesis is that language originates to defer our conflictual tendencies. Instead of trading blows, we exchange words, preserving the community at the price of deferring immediate appetitive satisfaction. But it follows that the threat of violence must have been such as to threaten not only one or two individuals, but rather a group; otherwise, why would the alpha male defer his appetitive satisfaction? It’s fairly clear that language is adaptive for the species even if it didn’t originate in a genetic mutation; we can communicate and cooperate, defer violence, and as a result we have colonized most of our planet.

    Our originary hypothesis begins with a hominid species that is becoming more mimetic; because imitation is an adaptive learning behavior, being more mimetic could be favored by normal evolutionary processes. We don’t know for sure the particular hominid species that originated language. If one favors an early origin, it could have been as far back as Homo Habilis a full 2 million years ago; a later origin is also possible with Homo Sapiens, about 50 or 100 thousand years ago. There are good arguments for both cases. In any case, becoming more mimetic also gives the species more potential for violence, until the very existence of the group is threatened by its own violence. These are the necessary conditions for the emergence of language, although they are not sufficient conditions. There can be no sufficient conditions, because the emergence of language is a cultural event, and cultural behavior doesn’t follow the same model of causality as animal behavior, much less the physical sciences. The emission of the first sign is a free act, the first free act, and as such cannot be reduced to its prior conditions.

    Gans hypothesizes that a group of our hominid ancestors have surrounded an appetitive object, such as a large mammal after a successful hunt. Normally, the alpha male would get first dibs on the best parts, and so on down the dominance hierarchy. But mimeticism within the group has increased to the point where everyone wants to jump in and eat first. I should clarify that it’s not just a situation of being extremely hungry, but rather that the central object has become surpassingly desirable through the collective appetitive attention given to it. At this point, a fight could break out, which would be destructive for the group. But, at some point, one group found another solution. The central object appears to the group as exceptionally desirable, but also tremendously dangerous, because of the implicit threat of violence. The power of mimesis is such that everyone in the group reaches out to appropriate the object, in imitation of each other and in defiance of the dominance hierarchy; but because the object appears to be so desirable and dangerous, it seems that it can only be represented, not appropriated. The gesture of appropriation is converted into a sign representing the object, a sign which each individual exchanges with the others. The sign designates the central object as taboo or sacred: too desirable and dangerous to be appropriated. This sign defers the violence threatening the group; hence Gans’s capsule definition of culture as “the deferral of violence through representation.”

    Gans calls this event a “little bang” rather than a “big bang,” suggesting that while this event is remembered, and remembered as significant, it would not have totally transformed the animal society overnight. But it was remembered, and for a long period of time we can hypothesize that the sign was only given at times of crisis or potential crisis. Eventually the giving of the sign would be repeated in ritual, accompanying the distribution of food, just as the central appetitive object was consumed following the deferral of violence at the originary event. It seems shocking to think that this hominid group did not have language one day, and the next day they did have language; but we have to remember that their language consisted of only one sign for quite a period of time, an ostensive gesture pointing directly to a present object. Only over thousands or even millions of years did this singular sign develop into the mature declarative language we now possess. In one sense, it can be said, then, that (mature) language developed gradually; but we insist that its origin must have been an event, a radical break from previous modes of communication and social organization.

    The consequences of this hypothesis are large. Eric Gans and the students of GA have developed these results in a large body of published work, although there is still much work to be done. For this Chronicle, I’ll just mention one important consequence, which is that language and cultural representation in general are “scenic” in nature, using a term drawn from theater. As we noticed, language originates on a particular scene, so that its scenic nature is essential to its existence. The term “scene” suggests first its eventful nature, but an event with a structure: consisting of a “center,” a locus occupied by something significant, which is represented by signs exchanged between humans, who occupy the “periphery” of the scene. Originally the center is occupied by the sacred and the periphery is human; but eventually, with the development of hierarchical society, a human can occupy the sacred center also, either as a putative god, or just as a “big man,” to use Marshall Sahlins’ term, one who controls the distribution of food and scarce resources in the group. The scene, we should remember, is fundamentally social. Interestingly, though, we each have a private scene of representation: the memory or imagination, or what religion calls the soul. The private scene is necessarily derived from the public, originary scene and so it remains social, although in a virtual sense. The existence of the private scene is of immense importance for the development of modernity. In primitive societies, the sacred, and significance generally, is found on the public scene of ritual. But we each have our own private center of sacrality—a major theme of the New Testament. Modernity can be described as the development of this originary potential, what is sometimes called individualism.

    It seems fair to say that the claim that language is scenic has not made a big impact in the humanities. I think that for most people, this sounds like just another way of saying that language is rhetorical, which is already well-known. The scene of representation, however, is not just a rhetorical model of language as communication, but rather a model of transcendence or meaning. The scene is ethical in function. Language is not simply referential or even rhetorical but rather scenic. The exchange of signs on the periphery of the scene functions to defer violence and enable community; potential violence is transcended or sublimated as “meaning.” GA insists on ethical functionality as essential for our understanding of any cultural phenomenon.

    This short essay is necessarily only the beginning of a full justification of GA, and I expect that readers will have a host of questions and objections. I encourage you to read more about Generative Anthropology. Ultimately, any theory is justified by the results which it produces, and the insights generated by the originary hypothesis are, I have found, without parallel.


  • Thomas Nagel’s Mind and Cosmos

    Text of a talk delivered at the seventh annual Generative Anthropology Summer Conference, held at UCLA from June 27 through June 30, 2013.

    I had heard so much about how Thomas Nagel’s new book, Mind and Cosmos (Oxford UP, 2012), defied the generally received idea that “materialism” in the broadest sense was sufficient to explain all phenomena, including the human, that I was intrigued enough to decide, even before reading it, that it would serve as the subject of my talk at this year’s GASC. Here was a philosopher, thus in principle a “humanist,” apparently contesting the natural-scientific doxa that reigns throughout the thinking world. And indeed, I had read several reviews that praised Nagel for his daring and criticized the intolerance of his Darwinist detractors. Here are a couple of representative examples:

    Evolution’s Revolution; How a leading atheist philosopher became an intellectual outcast for daring to question Darwinism.
    Joseph Brean, National Post (f/k/a The Financial Post) (Canada), March 23, 2013

    All he did was argue in a new book the evolutionary view of nature is “false,” and now grand forces have descended upon him. He does not want to talk about it.

    The vicious reception handed Mind & Cosmos, which urges deep skepticism about evolution’s explanatory power, illustrates the perils of raising arguments against intellectual orthodoxy.

    One critique said if there were a philosophical Vatican, Prof. Nagel’s work should be on the index of banned books for the comfort it will give creationists. Another headline proclaimed Prof. Nagel is “not crazy.”

    The book has won a British booby prize for “Most Despised Science Book” and prompted sneering remarks the author is centuries behind the times, and somehow missed the Enlightenment.

    “What has gotten into Thomas Nagel?” tweeted Steven Pinker, the Canadian cognitive scientist at the Massachusetts Institute of Technology. Mr. Pinker also called Mind & Cosmos “the shoddy reasoning of a once-great thinker.”
    Leon Wieseltier, New Republic 3/8/13

    For the bargain-basement atheism of our day, it is not enough that there be no God: there must be only matter. Now Nagel’s new book fulfills his old warning. A mob is indeed forming, a mob of materialists, of free-thinking inquisitors. “In the present climate of a dominant scientific naturalism, heavily dependent on speculative Darwinian explanations of practically everything, and armed to the teeth against religion,” Nagel calmly writes, “… I would like to extend the boundaries of what is not regarded as unthinkable, in light of how little we really understand about the world.” This cannot be allowed!

    Others (e.g., Jonah Goldberg) suggested that Nagel, despite his professed atheism, could be enlisted as an auxiliary in the intellectual rehabilitation of the God-concept, since although he doesn’t support theism, he includes it as a possibility, and more importantly, suggests strongly that material causality doesn’t have all the answers.

    This seemed to be enough of an incentive for me to discuss the book in the context both of GA and of “putting the human back in the humanities”; what else was a philosopher doing in opposing a dogmatic scientific attitude about the human mind?

    I’m not sure I would have made this choice had I known what the book contains. For I must admit that with all due respect both to Nagel’s philosophical knowledge and to the straightforward clarity of his writing, not to speak of his undoubted courage in confronting the intellectual establishment, I was struck by the extreme thinness of the thinking contained therein. The human world is presented throughout as consisting of a set of individual brains whose interactions, while taken for granted, are never at any point presented as having a causal effect on their components. This is, I imagine, a no doubt unconscious effect of the standard scientific “basic anthropological” (BA) worldview that has invaded philosophical “humanism” and turned it into a kind of “pod” (as in the old sci-fi classic) for the natural-scientific worldview.

    Yet at the same time I couldn’t help feeling a certain perverse intellectual satisfaction. For if this is a prime contribution of “professional” philosophy to the current debate on the constitution of the cosmos, then there must be a place for a non-establishment “way of thinking” that takes a far more concrete approach to posing and answering the questions that Nagel finds so troubling. Nagel is an atheist philosopher, about as far from a mystic as could be imagined; nor is he an atheist “believer” like Richard Dawkins and his friends, who hate God the way Deleuze and Guattari hate Oedipus—that is, make Him not exist a little too much). Yet I think it will be obvious at least to us—but if to us, then why not to everyone?—that Nagel involuntarily mystifies the whole question of what it is that he finds inexplicable by cosmological-Darwinian material evolution. Thus he makes it impossible to find an answer to his dilemma without invoking something pretty close to, if not identical with, Intelligent Design.

    Nagel is not satisfied by “theism,” which he defines sympathetically but in fact vacuously as the “explanation of everything” by God’s mind:

    …the polar opposite of materialism [is] the position that mind, rather than physical law, provides the fundamental level of explanation of everything, including the explanation of the basic and universal physical laws themselves. This view is familiarly expressed as theism… It is the most straightforward way of reversing the materialist order of explanation, which explains mind as a consequence of physical law; instead, theism makes physical law a consequence of mind. (21)

    [Theism] amounts to the hypothesis that the highest-order explanation of how things hang together is of a certain type, namely, intentional or purposive, without having anything more to say about how that intention operates except what is found in the results to be explained. (25)

    If God is no more than an abstract intentionality invoked to explain the otherwise inexplicable, then we might as well adopt Dawkins’ The God Delusion in the place of the Bible. God is, at the very least, the subject bearer of the human deferring-representational intentionality that humanity discovered/invented at its origin. Whatever our position on whether God created man or man created God, Nagel’s formulation tells us nothing about the interaction of the two intentionalities.

    Nagel’s preferred alternative to divine intentionality is teleology. I will return to this later, but for the moment I will just say that I cannot understand the notion of telos or goal in the absence of an intending subject. Can there be a goal without an intender? The comfort supplied by this concept would seem to depend on the authority of Aristotle, for whom, for example, heavy objects fall because their “end” is to be lower than lighter objects.


    Here are Nagel’s own statements concerning his aims in this book. As you will see, they focus chiefly on the “mind-body” problem:

    The aim of this book is to argue that the mind-body problem is not just a local problem, having to do with the relation between mind, brain, and behavior in living animal organisms, but that it invades our understanding of the entire cosmos and its history. (3)

    Physico-chemical reductionism in biology is the orthodox view, and any resistance to it is regarded as not only scientifically but politically incorrect. But for a long time I have found the materialist account of how we and our fellow organisms came to exist hard to believe, including the standard version of how the evolutionary process works. The more details we learn about the chemical basis of life and the intricacy of the genetic code, the more unbelievable the standard historical account becomes. (5)

    It is prima facie highly implausible that life as we know it is the result of a sequence of physical accidents together with the mechanism of natural selection. (6)

    The great advances in the physical and biological sciences were made possible by excluding the mind from the physical world. This has permitted a quantitative understanding of that world, expressed in timeless, mathematically formulated physical laws. But at some point it will be necessary to make a new start on a more comprehensive understanding that includes the mind. (8)

    Mind, as a development of life, must be included as the most recent stage of this long cosmological history, and its appearance, I believe, casts its shadow back over the entire process and the constituents and principles on which the process depends. (8)

    Those of you who have read my Chronicle 442 will already be familiar with one basic line of reasoning that I will develop here. Nagel speaks constantly of mental phenomena unique to humans, but never considers the specific importance of language. And given the context of contemporary philosophy, and the influence on it via “evolutionary psychology” of the Darwinian model that Nagel is suspicious of, it is not surprising that he considers language as no more than a secondary feature of human consciousness, helpful in permitting humans to communicate facts about reality, along with their subjective impressions, moral “values,” and so on, but never understood as the essential feature that distinguishes human consciousness from that of even the highest nonhuman animals.

    For most creatures, however, . . . Their lives are lived in the world of appearances, and the idea of a more objective reality has no meaning. But once we come to recognize the distinction between appearance and reality, and the existence of objective factual or practical truth that goes beyond what perception, appetite, and emotion tell us, the ability of creatures like us to arrive at such truth, or even to think about it, requires explanation. An important aspect of this explanation will be that we have acquired language and the possibilities of interpersonal communication, justification, and criticism that language makes possible. But the explanation of our ability to acquire and use language in these ways presents problems of the same order, for language is one of the most important normatively governed faculties. To acquire a language is in part to acquire a system of concepts that enables us to understand reality. (73)

    The capacity to generalize from experience and to allow those generalizations, or general expectations, to be confirmed or disconfirmed by subsequent experience is also adaptive. So is a basic disposition to maintain logical consistency in belief, by modifying beliefs when inconsistencies arise. A further, very important step would be the capacity to correct individual appearances not only by reference to other conflicting appearances of one’s own but also by reference to how things appear to other perceivers. That requires recognition of other minds, an ability with obvious adaptive potential. The reach of these capacities can be greatly extended and deliberately exercised with the help of language, which also permits knowledge to be collectively created, accumulated, and transmitted. With language we can hold in our minds and share with others alternative possibilities, and decide among them on the basis of their consistency or inconsistency with further observations. (76) (emphasis mine)

    Indeed, as I attempted to point out in the above mentioned Chronicle, the very idea of separating a mind-body problem from the human possession of language is essentially fallacious. However bizarre it may sound at first, it is the possession of language that makes “subjectivity” mysterious. Creatures without language can possess all the “subjectivity” they need; the real mind-body mystery has nothing to do with the mysteries of consciousness and everything to do with the misunderstood non-mystery of language. It is misunderstood because the biological model, which Nagel follows, perhaps without realizing to what extent, seeks its data within individual organisms and cannot comprehend human systems of representation that do not exist “within” individuals. These systems are irreducibly communal or social entities whose formation is necessarily prior to any biological trace in the individuals who participate in their first manifestations. (It is absurd to assume that the first humans were somehow adapted to articulated speech—clearly it was speech that adapted them, who became us.) Human representation creates a new “world” separate from material reality that exists in a context of human interaction, not as a mysterious mental emanation that attends to the activity of the brain. Given that the point of rational thought is to reduce to a minimum the arbitrariness of our explanations, proposing such a major offense to Ockham’s razor as “teleology” should be attempted only in extremis. Which is where Nagel clearly thinks we are, but I think this is because he confuses the humanistic anthropological question of the origin of the human with the natural-science questions that alone evolutionary theory is competent to resolve.


    Nagel proceeds chapter by chapter from consciousness to two further aspects of the mind that are in his view successively more difficult to understand in materialist terms: cognition, that is, reason and logic, and finally value, or what Kant called practical reason, the foundation of which is the judgment of good and evil.

    I don’t think it is useful to enter here into the question of the objective status of the “cognitive” domain of logic and mathematics. This question is barely touched on in Nagel’s book, and it leads to what are to my mind fruitlessly academic discussions for and against the “Platonic” nature of the truths of these domains. Suffice it to say that the notion of “truth,” whether defined in the everyday logical way, where it applies to propositions, or in a more expansive way that takes the sacred into account (affirming “God exists” or “Jesus loves me” is not identical with affirming the propositional truth of these sentences), truth is dependent on signs and cannot be understood in their absence. Not for nothing does John call Jesus “the Word” / ho logos.


    An indication that my argument is on the right track is Nagel’s choice of value— intuitively justified, although I wish he had theorized this more rigorously—as the ultimate category with which to demonstrate the inadequacy of the Darwinian explanation of the emergence of “consciousness.” Even cognition, which Nagel sees as a phenomenon difficult to explain as a mere product of chance evolution, can at least be considered, as it is by the evolutionary psychologists, as adaptive to reality. Here those familiar with GA will note that Nagel naively rationalizes or “cognitivizes” language (an error in which he has plenty of company), where Durkheim (who, however, never spoke of the problem in terms of language as such) always understood that the key category of representation, the sacred, whose function is to maintain the “solidarity” of the human community, is not in the first place a source of cognitive information but of a specifically social knowledge. GA, inspired by Girard’s intuition that human mimesis is the source of our greatest danger, takes a step beyond Durkheim and understands the origin of language as apotropaic, averting violence and the breakdown of order, before it becomes cognitive, which is by no means to deny that language will come to provide a means to transmit data about the world as well as its sacred valuations. Nagel, as philosophy has always done, takes language as an auxiliary to communication and never as a problem—the problem—whose solution will provide the key to our explanation of “consciousness” and its products. But this underestimation of language (and therefore of the mystery that resides in its cognitive apparatus) leads him to focus in what we might call a paralinguistic mode on what is indeed the originary function of language, that is, precisely, the imposition of value.

    We cannot help but note Nagel’s surprisingly crude formulations of the relationship between the visceral reactions of pain and pleasure and moral valuation,

    …the real badness of pain and the ability to recognize that badness are completely superfluous in a Darwinian explanation of our aversion to pain. The aversion to pain enhances fitness solely in virtue of the fact that it leads us to avoid the injury associated with pain, not in virtue of the fact that pain is really bad. So far as natural selection is concerned, pain could perfectly well be in itself good, and pleasure in itself bad, or (more likely) both of them might be in themselves valueless—though we are naturally blind to the fact. (108-09)

    I remain convinced that pain is really bad, and not just something we hate, and that pleasure is really good, and not just something we like. That is just how they glaringly seem to me, however hard I try to imagine the contrary, and I suspect the same is true of most people. (110)

    In the realist interpretation, pleasure and pain have a double nature. In virtue of the attraction and aversion that is essential to them, they play a vital role in survival and fitness, and their association with specific biological functions and malfunctions can be explained by natural selection. But for beings like ourselves, capable of practical reason, they are also objects of reflective consciousness, beginning with the judgment that pleasure and pain are good and bad in themselves. (111)

    Can anyone really believe that these statements even begin to describe what we mean by “good” and “bad”? This would seem to me to be one more example of the insidious effect of misconceived science on humanistic thought. The very origin of philosophy among the pre-Socratics, as I pointed out in A New Way of Thinking, was as an attempt to come to terms with the beginnings of a desacralized, pluralistic society in the Mediterranean basin, where self-conscious criteria for the organization of human interaction—political organization—beyond those of the archaic empires began to be sought. All the well-known pre-Socratic discussions about the cosmos and its composition, of whatever (I think, overblown) interest they may be to historians of the physical sciences, take their primary inspiration from the organization of human society, and I think it clear that the modest degree of natural curiosity they evince is subordinate to their search in “nature” for a model to deal with the really troublesome problem of the human order of things. The culmination of pre-Socratic thought in Heraclitus and Parmenides, in discussions of change and violence on one hand and the search for logical certitude on the other in contrast to the “way of opinion,” have their roots in political, legal, and ultimately ethical questions; language is now obliged to resolve, in a broader and more complex context of human interaction, problems that in simpler times had been resolved using ritualistic rules of thumb and the exercise of the reigning will.

    It is surely no accident that the high point of Platonic philosophy is the Republic. In his use of the term good, as I pointed out many years ago in “Plato and The Birth of Conceptual Thought,” (Anthropoetics 2, 2 [January 1997]) Plato is at great pains to deny the good’s “indexicality,” so that one cannot claim a good for any individual that differs from the good of all. What justifies the Socratic elenchos to determine the meanings of words is the fundamentally ethical nature of language in general, with the notion of “the good” as its founding Idea. Nagel appears to think that the good is in the first place only indexical, identical with physical or emotional pleasure, and that its conversion into an ethical concept or “value” (the process of which he never discusses) results from something like the universal sense of “pity” that Rousseau finds in all humans—thus he sees causing pain to another as bad in itself: “If something I do will cause another creature to suffer, that counts against doing it” (77). In contrast, Plato/Socrates’ point against Callicles in the Gorgias or Thrasymachus in the Republic is precisely that their pleasure, being “indexical,” is not equivalent to the Good.

    If instead of understanding value in this crude manner, we see it as fundamentally a social category, a perspective that I think is intuitively obvious at least to those of us outside the philosophy department, then we need neither teleology nor intentionality to explain its existence—which nonetheless, and here I fully agree with Nagel, cannot be explained by the material modes of causality that find their culmination in Darwin. The way to explain “value” is not as the result of reflecting on individual pleasure and pain but as a concept born at the origin of the human in the collective context that gives rise to language—which for all of us Girardians is a way of avoiding the “pain” of collective self-destruction. Anyone familiar with GA’s originary hypothesis, or with Girard’s simpler version of human origin, will have no trouble distinguishing the event of this origin both from Darwinian causal evolution and from the manifestation of an imminent teleological drive.

    The judgment of good or bad relates of course to pleasure and pain, but not in the simple correlation described by Nagel. The central sacred object is a danger to the group precisely because of its power as a source of “pleasure.” If the members of the group sought their individual “good” in the former, animalistic way, chaos would ensue, because the moment in which language becomes necessary can only occur if the previous pecking-order animal hierarchy had broken down under the pressure of our ancestors’ growing mimetic capacity.

    We must on the contrary conclude that the origin of the idea of the Good must be precisely the opposite of the naturalistic intuition of Nagel: it originates to oppose individual pleasure for the sake of the common good, which demands the (ultimate) collective appropriation of the desired object, its “equal” distribution. There would be no need for a word like good if all it did was give (linguistically, collectively) a positive value to what already possesses such a value for the individual.

    Indeed, it is not made clear in Nagel’s formulations why we need to speak of good and evil at all (not to speak of the possibility he raises that from a Darwinian standpoint, pain might as well be good and pleasure bad) when painful and pleasurable would seem to suffice. Nagel treats the emergence of value as a mystery he never even attempts to explain. Speaking of “teleology” in this context is tautological, since the real question is, if values have no Darwinian/biological use, what then is their function, other than demonstrating our moral superiority to other creatures?

    But I think the significance of Nagel’s insistence on value transcends these superficial and seemingly materialistic formulations; it reflects an intuition that what is specific about value, about cognition, and even, I would insist, of “consciousness” to the extent it poses a problem for materialist explanations of reality, is its origin in the human community mediated by systems of representation, the most notable of which is language. Nagel’s intuition is poorly expressed and understood because it conflicts with the direction of modern analytic philosophy and its scientific models. But not, I hasten to add, with GA—and this is the key to the stubborn persistence of our little group, ignored by the wider “intellectual” world, that continues to point out the nakedness of the contemporary emperors of thought. Our explanation may not be perfect, but we have an explanation, one compatible with and at the same time independent of the parsimonious explanations of natural science.


    I think Nagel makes “value” the capstone of his argument because he doesn’t really believe that good is pleasure and bad is pain. For I agree that even if one could (although I believe one can’t, for the reasons I have just given) find an evolutionary source for “cognition,” the knowledge and transmission of information and the possibility of reasoning about it, and the signs that facilitate it, one can certainly not derive “good” and “evil” from genetic mutation. No doubt evolutionary psychologists can find Darwinian explanations for religion as well as morality, but I think it is to Nagel’s credit that he is fed up with just-so stories. Yet he seems helpless to do more than express a very limited intuition of the specifically human phenomenon of moral “value,” which GA derives from what I have called the “moral model” instituted on the originary scene.

    “Values” are indeed the primary example of a human phenomenon whose causality Darwinian evolution cannot describe. The just-so stories of evolutionary psychology are logical enough as “teleological” principles; their weakness is as models of causality. The difference between the Darwinian world and that of human evolution is, in a word, the sign, and its corollary, the digital as opposed to the analog; non-empirical, binary criteria of judgment, the simplest version of which is Durkheim’s binary opposition between the sacred (or meaningful) and the profane (or meaningless). Biological evolution may well generate elaborate digital-like operations, such as the coding of genetic information, which gives the original advantage in “fitness” by creating fitness itself: survivability through reproduction. But such coding is mechanical; it does not reflect on itself; it does not like human values enforce “laws” not given in “nature.” To call something good or evil requires a judgment independent of worldly action, and it is not necessary to belabor the point that this very difference implies that circumstances cannot but occur in a world of sufficient complexity in which inflicting pain on sentient creatures (in punishment or disciplinary training, not to speak of the “pain” of avoiding excess self-indulgence), and certainly, restricting pleasure, will be judged a good, not simply as part of a utilitarian pain-pleasure calculus, but for collective moral reasons more primary than those of individual satisfaction.

    Because he fails to understand this, Nagel makes in spades the category error he had begun to make when discussing consciousness and then cognition and logic. Because the judgment of good and evil cannot be understood to emerge from some genetic mutation, he feels the need (unconsciously emulating the religious thinkers of old) to extend the category of value, which is nothing but moral judgment, to the whole of the universe, to suggest as an alternative to the clearly inadequate Darwinian explanation a teleological orientation of the entire cosmos in which moral values are somehow present in germ from the outset rather than emerging in the proto-human world at a certain stage of complexity. This strong teleological explanation goes well beyond the banal tautology that the mere possibility of moral values must have existed from the beginning, since anything that comes into being must have been possible.

    What is the actual history of value in the world, so far as we are aware of it? Nothing in this domain can be regarded as obvious, but in the broadest sense, it seems to coincide with the history of life. First, with the appearance of life even in its earliest forms, there come into existence entities that have a good, and for which things can go well or badly. Even a bacterium has a good in this sense, in virtue of its proper functioning, whereas a rock does not. Eventually in the course of evolutionary history there appear conscious beings, whose experiential lives can go well or badly in ways that are familiar to us. Later some descendants of those beings, capable of reflection and self-consciousness, come to recognize what happens to them as good or bad, and to recognize reasons for pursuing or avoiding those things. They learn to think about how these reasons combine to determine what they should do. And finally they develop the collective capacity to think about reasons they may have that do not depend only on what is good or bad for themselves. (118)

    By contrast, once we recognize that an explanation of the appearance and development of life must at the same time be an explanation of the appearance and development of value, a teleological explanation comes to seem more eligible. This would mean that what explains the appearance of life is in part the fact that life is a necessary condition of the instantiation of value, and ultimately of its recognition. (121)

    We recognize that evolution has given rise to multiple organisms that have a good, so that things can go well or badly for them, and that in some of those organisms there has appeared the additional capacity to aim consciously at their own good, and ultimately at what is good in itself. From a realist perspective this cannot be merely an accidental side effect of natural selection, and a teleological explanation satisfies this condition. (122)

    I join with Nagel’s critics in finding this reasoning unhelpful: it explains nothing about either cognition or moral judgment. In contrast, such explanations, as those familiar with GA will know, are provided by the originary hypothesis. The mystery of the human is its communal origin, its creation of representation as a means to avoid mimetic violence through the sharing of common moral understanding.


    The mystery once clarified, I think we can then defend the parsimony of standard scientific explanation without having to burden our ontology by making values and other qualia (categories of “mind” rather than “brain”) somehow present or anticipated in the universe from the beginning. Nor do I think that religion needs the help of this kind of argumentation to regain respectability in intellectual circles.

    No doubt the origin of life remains something of a mystery; but Nagel makes clear that it is not this mystery that led to his book. It is the human mystery, which is not that of “consciousness” or “cognition,” or even of “value,” but representation, language; and once a solution is proposed for the origin of this human trait all the other mysteries are accounted for as well—explained at least within the context of the originary hypothesis, which cannot of course ever be fully “demonstrated.”


    I think I have shown in what sense the origin of “value” is also the origin of language, and that “value” in the moral sense comes into existence to oppose the simple pain-pleasure calculus as the expression of a communal good. As I have observed, this discovery is the very foundation of metaphysics, going beyond the archaism of the pre-Socratics to the doctrine of Ideas, which by positing the fundamental equivalence between the elements of language and those of the universe, serves as the foundation for all subsequent philosophy. I, who have never formally studied philosophy, feel uncomfortable to have to give this lesson to an eminent philosopher who surely knows the works of Plato far better than I.

    My reaction to this discomfort is double. On the one hand, I find deplorable that in its current state the great philosophical tradition has so lost touch with its historical, communal roots, including the celebrated and fundamental philosophical arguments that oppose the universal concept of the Good to individual pleasure. But on the other hand, I take pride in pointing out in all modesty that GA has “solved” this problem from the beginning, and that had Nagel been acquainted with its arguments he would not find himself tempted to entertain the hugely unparsimonious notion that the big bang must contain not only matter-energy but the emanation of some kind of teleology, reminiscent of Henri Bergson’s proto-Darwinian élan vital.


    Ideas are only as powerful as their ability to move minds. These may not be the products of a teleology inherent in the universe, but they are not simple products of evolution either. They are part of the human community, and like anyone who writes, I must put my faith in the ultimate common sense of this community.

    Although the arguments of GA remain virtually invisible to the philosophical and intellectual world, I see no reason to alter my conviction that our humanistic way of thinking gives a better understanding of the human than the doxa that reigns here and elsewhere in the so-called world of thought. Within the limits of my abilities I have done my best over going on four decades to develop and propagate these ideas. If you find them at all persuasive, all I can hope for is that you will go forth and do the same.


  • GA Environmentalism — Guest columnist: Andrew Bartlett

    One would not be risking much to wager that mildly curious newcomers to the Anthropoetics website who feel anxiety about climate change and global warming, the razing of rainforests, the dying of coral reefs, the horrors of factory farming, the mountain-top mining in West Virginia (see the documentary Burning the Future) and the grotesqueries of fracking (see the documentary Gasland), not to mention the myriad other indicators of our superspecies’ conspicuously successful creativity on the planet, would not last long as browsers there. Ecosensitive types, never shy about the self-righteous occupation of moral high grounds anyway, would before long come across remarks implying an indifference to causes “ecological” and environmental, an indifference almost equivalent to the massive indifference of Nature itself to humankind. Such types, defenders of Nature itself, would without hesitation click off the page and not come back anytime soon. I would prefer that environmentally-minded people exercise any small curiosity they feel about GA until they get exhausted by the stimulating rigour of its ideas, not repelled by unfashionable remarks about, say, the undecidable quality of speculations about the causes of global warming. And so I try out some thoughts along the lines of GA Environmentalism.

    I do not see any necessary conflict between a “concern for the environment” and an interest in generative anthropology. On the contrary, I believe generative anthropology provides the strongest basis for an environmental thinking that combines human self-respect with a non-hypocritical approach to the tremendous problems facing the human community as it faces “the” ecological crisis. The problems are real ones. One thing I will say is that to preserve one’s sanity, it is probably best to approach such problems one at a time. There is a susceptibility to paralysis and despair when one starts learning about changes in the natural world, the problems for humans and other animals and ecosystems alike. There is at the very least the simple problem of numbers—there are so many of us. Just too many of us: when one takes Thomas Nagel’s The View from Nowhere, one almost finds understandable the formation of Voluntary Human Extinction Movement. (You may google them.)

    The VHEM brings me to a first line in the sand that I believe generative anthropology does draw and that it would be impossible to cross without abandoning the part of the Nevil Shute beach that GA has claimed. The line is that of human self-respect. An environmentalism that entails the denial of human self-respect cannot follow from the originary hypothesis; what we need is an environmentalism unashamed to own the glory and the horror of being human. We must fight the horror and celebrate the glory, but they “go together”—results of the excess for good and evil that the power of (human, scenic) representation brings into the cosmos. We do not need to go on about how intelligent we are, as the cognitive scientists and reductionist Darwinians do, including especially the many researchers making careers trying to prove that human language is just a sophisticated form of animal signalling, somehow. I do not think we are that terribly intelligent. We are just weird because we live on scenes of representation. Dogs are as intelligent as they need to be, just as crows and salmon are as intelligent as they need to be. Our purported intelligence cannot be the basis of our self-respect. Only self-knowledge of our paradoxical situation in the cosmos can give us such a basis. We need to understand why we have our particular form of intelligence, namely, language.

    Denials of human self-respect are indulged by more than one contributor to The Eco-criticism Reader: Landmarks in Literary Ecology, edited by Cheryl Glotfelty and Harold Fromm (U Georgia P, 1996). Glotfelty went on to become a founding officer of ASLE, the Association for the Study of Literature and the Environment, now a thriving association with gigantic annual conferences. Here is the best example, from SueEllen Campbell in “The Land and Language of Desire: Where Deep Ecology and Post-structuralism Meet”: “But the most important challenge to traditional hierarchies in ecology is the concept of biocentrism—the conviction that humans are neither better nor worse than other creatures (animals, plants, bacteria, rocks, rivers) but simply equal to everything else in the world” (128). Is it really a lesson we need to teach our children well that they (the kids) are neither better nor worse than rocks or bacteria? “Better” by whose judgment? “Worse” by what measure? We have here an ecocritical thinker who has thought little about the fundamental anthropological category of value; or perhaps deep ecology expels anthropology in the first place.

    For an originary thinker, the category of value emerges in the cosmos only when humans as language-using animals begin to measure and compare parts of the natural objects they consume on ritual scenes, having acquired language, which makes them likewise unique animals in the history of the planet, if not the cosmos. Before that point in cosmic time at which humans began using language on ritual scenes, maybe God was doing some valuing of Creation, but if so, God was doing it according to the Divine Ownership alone… rather lonely, waiting for humankind to emerge according to plan so the sinful consuming and the punishing disasters and the fraught covenanting could get underway. (God gets my quip and minds not, I believe.) Even the smartest animals (whales, dolphins, chimpanzees, my West Highland terrier) have never been seen measuring their portions of food and naming the portions’ values. The only place it happens in Nature (valuing) is on the scenes of human exchange, for example, here between you and me, kind reader. Human self-respect begins when we think about where we are—on the human scene. Human self-respect begins with recognizing the natural fact that we alone in nature “value” things, that human animals alone perform the signifying act of assigning values to things situated on scenes of exchange. Neither better nor worse than rocks or bacteria. Imagine a wedding ceremony or a first erotic encounter at the time of which one human says to the other: Though I do not value you more than rivers or plants, I promise to love you til death do us part. One longs for the wisdom of a John Stuart Mill, of the type conveyed in his essay “Nature.” Writing against a debased romanticism of which the slogan was “follow Nature!” Mill at least understood the valueless indifference of Nature and its utter vacuity as a source for values.

    A second line in the sand that GA would draw, I believe, is one that seeks to guide us away from the hypocrisy and self-contradiction that follow from a failure to think minimally about another anthropological fundamental: consumption. We all consume, but according to much environmental discourse, we should all feel bad about consuming. Consumer society is bad: period. I always wonder what we are expected to replace it with: non-consumer society? Are we all to become Tibetan monks or Jainists? Or become card-carrying members of the VHEM?

    It is not simply elasticizing the concept to insist that humans have always been consumers; it is a fact, perhaps not a simple one, but a fact. In contemporary political discourse with an ecological perspective, there is perhaps no word more abused by overwork than “consumption.” Rene Girard used to remark on the doubleness of discrimination: discriminating against (bad), discriminating between (good). Likewise, the economists insist consumption is good—and they are correct. At the very least, I hope one would concede that there is good consumption, innocent by necessity. If we all stopped consuming tomorrow, the system would crash and the economy collapse; sellers need buyers, producers need consumers, and people need food, clothes, and shelter. Meanwhile, the ecologists insist that consumption is bad—and they are correct. All consumption “destroys” nature: the big fish eat the little ones, not my problem, get me some (from the Radiohead song). At its best, consumption nowadays makes us feel bad by shading into the kind corrupted by luxury. Rich people may well be miserable; the earnest shopper may frequently be disappointed. I recall the despairing cry of a mother of a friend from my college years, lamenting the impossible dream of successful Christmas shopping: There is something wrong with everything you buy! She meant both that her daughter would not like the jeans she had assiduously hunted down in the obnoxious local mall and that the jeans would probably be defective in workmanship and overpriced anyway. Furthermore, the throwaway toy and the major appliance manufactured for planned obsolescence do maybe need to be replaced by “alternatives” (a word understandably loved in environmental discourse—liberal democracy must have alternatives): smart shoppers might ask about the probability of a purchase enduring long enough to acquire sentimental value. That way, we could begin to step gingerly beyond “hedonistic self-indulgence.” There is no virtue in throwing money away on junk.

    On the other hand, when I hear the person with the million-dollar house and the tenure-track job and the SUV denouncing the “excess” of our horrible consumer society, I want to quote King Lear standing up to his wicked daughters, who torment him by taking his horses away:

    O reason not the need. Our basest beggars
    Are in the poorest thing superfluous.
    Allow not nature more than nature needs,
    Man’s life is cheap as beast’s. (2.4.259-262)
    King Lear’s lines might be the slogan of a wise and self-respecting environmentalist discourse (although one can imagine some eco-critics rejoicing in his oppressed horses being set free to roam the fields, forgetting the wolves and the wild dogs). Let us stop being ashamed of need, of consuming as such, for consuming pure and simple as a direct, unmediated material transaction with the environment has never been what we have done as humans anyway. Maybe we did it as hominids before language, but never since we started to name things together on scenes of representation.

    The truth is that we (humans) know natural objects only by consuming them on scenes of representation—which means discovering/inventing the objects as significant centers, and then destroying them—taking them apart, studying them, analysing them, and ingesting them or remaking them as artifact, shelter, tool. The paradoxical truth is that the only “Nature” we know is the nature we “consume” or interfere with, modify, make a home of, at the very least observe (like the quantum physicist disturbing the particles). There is no getting around the center of the scene of representation as our access to Nature, or, less confusingly, to natural objects. Any human meal is a whole series of thoughtful, mindful, representation-saturated interferences in nature. We might wish we could shed linguistic consciousness as snakes shed their skins and somehow “experience” objects directly, “immediately,” as animals do or the expert denizens of nudist colonies splashing in the streams of free love try to do. But as plain, flat humans our glory like our horror is on the scene where we know what we are doing when we eat, because we represent and name the things we eat. Likewise, we name and know the materials we make into things we wear, and we name and know the materials (wood, bark, stone, rubber) we rip from the natural world and bang up into huts and houses, boats and buildings. But not (by contrast) the lion. The lion rips up the fallen zebra, chews its chest slowly as it bleeds to death, but the lion feels no guilt and merits no moral condemnation because it has no scene of representation and owes nothing to any shared Center of the scene that all lions acknowledge in ritual and linguistic practice. We are the only animals who consume good objects of nature scenically, gathered around fires or pots or tables or countertops. Our consumption transcends consumption because it re-presents consumption, because our consumption is something we think about. No other creature in the environment does it the way we do. We must begin with what we are and how we do things. We know that we consume because we represent to ourselves that which we consume.

    An environmental discourse animated by the originary hypothesis might take this, I suggest, as slogan and principle: we consume only that which we have first represented; and if we have represented it, then its value is created on the scene of human exchange. “Nature” is not a pre-made, sacred, finite pie that we are cutting up. “Nature” is that which we cut up in the first place to make the pie Nature did not make. Nature does not make pies for us. We are so used to thinking about humankind-Nature relation on the model of the subject–object axis of metaphysical philosophy, that we have lost the common (religious) sense of communal anthropological wisdom, which grasps that “Nature” does not come to us directly but only by way of the mediations of scenic (ritual) centers, shared and inherited centers of cultural authority and practice. Why has post-structuralism not taught us this? Because it goes on endlessly about mediation, all the while denying agency in ever more convoluted baroque ways, so the mediations are everywhere but the intentional centers are nowhere. Not terribly helpful if we wish to get ourselves situated in pro-environmental discourse.

    That our experience of nature is mediated by figures on the scenic center is to some extent a “primitive” truth that the Rousseau-influenced environmental politicians should not find difficult to grasp. We used to call the imagined agent at this scenic center God, or the Creator. Now what do we call it? Nobody knows. Modern science, given its bias toward materialist reductionism that tries to explain away linguistic consciousness as an epiphenomenon of the evolved “body” or of the big, over-programmed accidentally-evolved human brain, is no help here. Science is in no way going to help human thinkers raise their environmental moral consciousness. It provides lots of horrifying statistics and misery-inspiring facts to deflate our hope in the historical future. But it will not help, because modern science for the most part desacralizes Nature (only the work of the likes of Stuart Kaufmann or Terence Deacon in Incomplete Nature moves in the other direction). Originary thinking is far richer than modern science in resources to make us resituate ourselves in the natural world as humans grateful for the objects we (must) consume. To express gratitude is to perform a valuation. The self-knowledge the originary hypothesis gives us to help understand ourselves in cosmic history is the self-knowledge we need to stop burying our heads ostrich-like in the sand of the denial of human weirdness.

    Originary thinking, I believe, can help us approach “Nature” this way: we can own up to the reality that whatever is given to us in Nature and by Nature is really given to us by other humans first. We are fed as babies by our parents. We are given tools and objects by other people. We are the species the least dependent on “Nature” and the most dependent on each other—we are the supersocial species. This should be obvious: look at our cities, our networks of exchange, our marvels of technology. When are we going to stop seeing all this manifest evidence of our difference from other living things as an obstacle to our relationship to Nature and start seeing it as the model of our relationship to Nature? The scenicity of human access to Nature is a very hard truth for standard environmental discourse to bear; it wants us to hate ourselves and each other (bad technological overconsuming violent human!! bad, bad, bad!) and love Nature first. Such discourse has things the wrong way around.

    We will only start loving Nature if we learn to love each other again, rather in the way some of us used to believe that a caring Creator God loved us and helped us learn to love one another. Modern science has beaten God up and kicked him out of the cosmos without a meal ticket, but let us not absurdly rush to God’s rescue. The point is that for humans, there is no “Nature” that is not mediated by the sacred center, or, if you like, by representation, first: that is what it means to be and do as a human, on the scene of representation, where we represent things in language before consuming them. A little reflection shows how easy it is to grasp this: parents talk as they feed children, farmers use their names and knowledge as they work the land, fishermen name the waves and the weather as they plumb the oceans, naturalists represent as experts when they observe and preserve images of marvels in the wild, scientists study in symbolic systems the natural events that mediate climate change. Obviously, one might say. But is it obvious? Has it not become the very thing so studiously, strangely, systematically overlooked in standard environmentalist discourse? The danger of environmentalist discourse given to victimary stances is its tendency to induce again and again a forgetfulness of the reality not that humans are “part” of nature (that synecdoche has been repeated so often it numbs the mind), but that the Nature of which we are part can be known only as the object of human intention on scenes of representation. There is no Nature for humans that humans have not intended in the first place. We have never known and we will never know “the environment” directly. So why, pray tell, do we keep speaking as if we have so known it and can so know it—the environment, the environment, the environment. We repeat the phrase as if it will appear by virtue of our incantations, not unlike a pagan God. But it will not so appear. Sorry.

    The self-hating strain in environmentalist discourse (Nature is our Victim and we are its persecutors and exploiters) insists that we must be ashamed of our having been consumers from the beginning. As an originary thinker, I would suggest that we would do better for ourselves and “the environment” to stop being ashamed of taking what we need. I would say, as a joyful originary thinker bursting equally with human self-respect and love for the bazillions of natural objects we have learned to represent and to consume, let us take joy in consuming what we need; but let us take more of that joy first, because if we do so, we will consume less. It is not consumption itself that is “bad.” It is the loneliness of the person eating alone that is bad. It is the delusion that the (natural, consumed) object alone itself satisfies, rather than the object represented and shared on the scene, and thus valued and satisfying precisely because valued, that is bad. It is mindless, anti-social, thoughtless, unmeasured consumption that is bad. I am convinced that so-called “overconsumption” is a result less of consuming too much than of thinking too little about what one consumes and consuming in isolation. Overconsumption is the result of failing to represent together the object before consuming it.There is something to be said for saying grace—it is not self-advertising piety, but self-situating humility; it slows us down, makes us pause, restores our originary gratitude to the shared center. Human consumption has, from the origin of ritual scenes, involved “excess” in the sense that alone among animals we are aware because we represent in language the things we consume. That awareness is the source of the excess, the sense and meaning of “excess” itself. There is no “excess” in nature. There is only “excess” where humans say there is, having measured it and represented it. So if we are eating too much, we can tell each other so and cut down or cut back. But we will be telling each other that. Nature tells us nothing. We read the signs. We are the ones who read the signs of our excess.

    The respect we owe Nature is in the first place the respect that we owe each other as humans. Our humanity comes first, because we cannot help but know Nature only as humans know it—in a way that is to know Nature differently from the way all other animals know, or perhaps I should say, experience it. Other animals have sensations, perceptions, emotions, memories. None have scenes of representation structured as peripheries and sacred centers. None have language as we have it: the very language that by making us supposedly super-intelligent has “caused” the ecological crisis. But hating ourselves and loving “Nature” gets us nowhere, because we must be ourselves as humans first if we want to “get” Nature, get access to natural objects. And that must entail owning up to the manifest reality of our bizarre unlikeness in the universe, or Creation. I have insisted on taking joy in pro-social consumption, gambling on the supposition that we consume less when we represent more, because we are happier when we are sharing and miserable when we are not sharing.

    For my third and final gesture, let me venture a remark that reverses direction and tries to put “Nature” first, in a shifty way. My passion for originary thinking comes from my conviction that it minimizes the difference between believer and nonbeliever in God, and that it succeeds in creating a shared scene in which “science” or the truth of reason and “religion” or the truth of “faith” can co-operate dynamically. The remark I wish to venture: For human beings who use language, natural objects are always already at least a little bit sacred. To grasp originary thinking is to grasp this ecological reality. It has occurred to me that utilitarian discourse, for example, the type advocated by Peter Singer (whose work I respect) in his attempt to get us thinking about the interests of sentient animals, has nothing on old-fashioned faith in a Creator who commands our reverence and respect for animals when it comes to nudging contemporary industrialized humans toward compassion for animals. Even Peter Singer admits that sometimes we need to torture chimpanzees to get a cure for disease X. In utilitarianism, there is no originary moral basis for concern for animals. In generative anthropology, insofar as the natural object can function as a sign and substitute for the central locus of the scene of representation conceived as a Being (God), there is—yes, there is—a space for saying we owe that sacrificed chimpanzee something that the calculation of costs and benefits can never measure. We owe that chimpanzee an infinite debt, because that chimpanzee occupies the space of a paradoxical sacred center that utilitarian discourse cannot even begin to think. The great falsehood of modern science (utilitarianism included) is to blithely command us to treat natural objects as just that, objects, objects and nothing but and nothing more, objects unmediated by the scenic centers of human representation.

    I believe generative anthropology encourages our questioning of such reductions. When I think of the most miserable factory farmed chicken imaginable or the moths I happily swat in my pantry, I think scenically that they and other natural objects are never just nothing but natural objects. Because the natural object is an object of my representation, and because I share that representation with other humans, and because that representation points to an irreducibly shared (ultimately immaterial or “spiritual”) scenic center, the object’s value is irreducibly intersubjective and its value cannot be measured by the quantitative methods of natural science alone. In other words, originary anthropology refuses to be reduced to cosmology. Therefore, the scenic center properly grasped has the capacity to sacralise anew each possible object in Nature, of nature. Our place in Nature has never been just to “exploit” the goods it gives us; our place has always been likewise to sacralize and value the goods that it gives us. But modern science knows nothing of such value. Modern science objectifies. By contrast, when meditating on the originary scene, we transform natural objects into objects of specifically human intention. They come to exist in a special way for us as signs in our human minds, signs in our shared imaginary worlds, values in our systems of economic exchange, symbols in our networks of belief.

    From Laplace and Darwin to Dawkins and Dennett, the materialist-reductionist strain in science has tried both to explain away our unlikeness in the natural world and to explain (away) all the mysteries in Nature itself. But a mystery by definition withholds itself— like the personhood of the Being at the sacred center, anything we re-present in language withholds itself, because the word intends the object but the object is not the word. The mystery of language entails the mysterious value of all natural objects, including everything we can think about. It is true that mysteries should not be multiplied beyond necessity. But it also true that some mysteries remain, and language (the paradox of the human) cannot be explained away. The center of the human scene was and is at least minimally sacred (if and when it is utterly desacralized, well then, there we will meet the nice meaningless end of humankind); therefore, any natural object that can occupy the center of that scene can be at least minimally sacred.

    For originary thinking, the environment is not the environment, horizontal, mute, at once stubbornly unspeaking and facelessly demanding. On the contrary, every natural object I put in the center of a scene of representation, from the bananas and cream in my snack bowl to the whole planet as a globe viewed from a mind-boggling satellite in outer space, remains subject to the paradox that has always been present from the origin of the human: because we cannot both have all of it all at once, dear interlocutor, we must find a way to represent it as transcendent (first) before trying to get to it as immanent object of consumption (second). That is how we learn to share. We can share the representation of Nature in a way can never share Nature itself; what is more, we have been doing such sharing all the time ever since the beginning of human community. We could always share better and more, but societies that do not share, die, and we are not dead yet, so we must be doing something right. Hope is there.

    If we want to re-learn how to love the natural world, then we should re-learn how to love one another, alone on the planet anxious about the ecological problems it has. The poisoned beluga whales in the St. Lawrence river, the laboratory chimpanzees on the UBC campus, the unowned dogs and cats in cages at your local animal shelter—they suffer. We may feel shame at what we (others) (we) have done to hurt them. But we should not feel shame at what we can do to help them, and we alone can help them. We belong to Nature no more and no less than Nature belongs to us (thank God). There is at least as much glory in our ecological situation as there is horror; I believe, ultimately, more glory than horror. Animals do not think glory or horror. But we do. Our ability to help ourselves—by helping animals and plants to flourish—is something we should believe in, something that follows from the originary hypothesis itself. As for the rocks and the bacteria, I expect they will be fine on their own. They will not resent our indifference. They understand that we have enough environmental business to worry about for now.

    Time to check out the VHEM website…. competition for the Anthropoetics website! Speaking of which, why not come join us at UCLA for GASC VII on June 27-30th?


  • Shakespeare’s Gentle Apocalypse: The Tempest

    There hath pass’d away a glory from the earth.
    ~William Wordsworth

    1. Introduction

    A belief in imminent Apocalypse was common during Shakespeare’s life, and St. John’s Revelation was read avidly as a guide to current events.(1) Bernard Capp comments, “During the first half of Elizabeth’s reign there developed a general consensus that the pope was the Antichrist and that the end of the world was at hand” (97). The defeat of the Spanish Armada in 1588 further fueled “apocalyptic excitement and patriotic fervor” (Capp 97), although this event was only the beginning of continued hostilities between the countries (Outhwaite 25). In what is called the “Great Dearth,” England suffered “a disastrous sequence of harvest failures (1593-97) with economic depression, widespread poverty and high mortality from plague and starvation” (Clark 6). England’s apocalyptic expectations turned out to be correct although not in the way they anticipated. The Protestant Reformation indeed brought an end to the medieval order, but rather than initiating Judgment Day and Christ’s reign on earth, the unintended result was the emergence of Modernity. Shakespeare’s mature drama is deeply informed by the demise of the feudal order and the birth of something new and as yet unimaginable. Shakespeare died in 1616, so he didn’t live to see the English Revolution and the execution of King Charles I in 1649, but these spectacular events were the fruit of long-term developments in which Shakespeare participated.

    Shakespeare’s final play that he wrote as sole author was The Tempest, which portrays Prospero the magician, an artist figure who renounces his magic or art in the latter part of the play. Shakespeare’s anticipation of his retirement was the occasion for The Tempest, an artistic reflection on how and why the dramatic forms associated with Renaissance hierarchy were becoming increasingly problematic.

    The relevant historical background to The Tempest is the transition to Modernity, an apocalypse which requires some explanation. From the perspective of René Girard’s Fundamental Anthropology, the Medieval-Renaissance period is characterized by sacrificial hierarchy, a hierarchy, moreover, that contains the seed of its own destruction, that is, Christianity (Theater 283). Christianity undermines so-called divine hierarchy by revealing its sacrificial root. When the New Testament revelation finally reaches fruition during the Reformation, the medieval order is destabilized, allowing for the development of Modernity.

    According to Girard, Shakespeare’s plays demystify mimetic desire and the scapegoating mechanism, but the effects of this demystification are rather ambivalent. On the one hand, Girard suggests that the mimetic drive is weakened by its unveiling. In Girard’s reading, Hamlet, for example, as a modern, is not really mimetic enough to take revenge immediately upon Claudius. Hamlet’s desire must be first stimulated by the fifth-act graveyard fight with Laertes (Theater 274-8). Likewise, Girard sees Miranda, in The Tempest, as falling asleep out of boredom in the first act when her father Prospero recounts all the mimetic betrayals that led to his usurpation and exile (Theater 352-3). Girard ends his book on Shakespeare with this image of Miranda bored with tales of betrayal and revenge. But on the other hand, in Girard’s reading of Modernity, the disabling of the scapegoat mechanism unleashes a mimetic crisis, a “vizarding of degree” that Ulysses warns against in Shakespeare’s Troilus and Cressida. According to Girard, this crisis of degree is “the context of all Shakespearean plays without exception” (Theater 351). So Modernity, for Girard, seems to be characterized by both hypermimeticism, as we lose the protection of the scapegoat mechanism, and a weakening of mimeticism, as we understand mimetic desire and it loses its fascination.

    Girard is undoubtedly correct that the New Testament demystifies the scapegoat mechanism, and with corrosive effects on hierarchy. But the influence of the New Testament is actually more complicated. The public, ritual scene of sacrifice is critiqued, yes, but also opposed to the private scene of true faith. While his disciples apparently expected a political revolution, Christ proclaimed, “the kingdom of God is within you” (Luke 17.21). When you say your prayers or give alms, Christ commands, don’t do it in public to gain praise before men; but rather, “pray to thy Father which is in secret; and thy Father which seeth in secret shall reward thee openly” (Matt. 6.6). The New Testament suggests that each individual has a personal, private relationship with God, and this relationship effectively authorizes the individual in opposition to traditional authorities. Being reliant upon God paradoxically makes one independent in a social context. For example, Martin Luther’s private faith, nurtured by his Bible studies, empowered him in his public opposition to the medieval priestly hierarchy. Furthermore, each individual, in his or her relationship with God, becomes worthy of serious literary representation, thus giving birth to the realistic novel (the source of Girard’s theory of mimetic desire).(2) The important influence of the New Testament on Modernity is egalitarian individualism as the necessary alternative to communal sacrifice and hierarchy. And this is where Girard’s understanding of Modernity gets into trouble.

    Girard’s mimetic theory can be accurately characterized as the most powerful critique of individualism ever made.(3) Even the individual’s most private and “sacred” desires are not his or her own but only an imitation of the model, so that the individual’s core of identity is decentered by mimetic theory, inhabited by the desires of the Other. Girard demonstrates convincingly that the autonomous individual is a myth. Because Girard so resolutely critiques individualism, he doesn’t really appreciate its positive, constructive power for Modernity. What matters is not that each individual is truly unique, but that this belief creates individual difference in practice. Medieval hierarchy depends on class difference to prevent conflict, but individual difference in the modern world also functions to mitigate the effects of mimetic competition. Furthermore, Girard’s ethical critique of the scapegoat mechanism is based on the value of the individual, so his own theory demands a recognition of individual rights, which are the political foundation of Modernity. Shakespeare’s play The Tempest recognizes individualism as the force that makes both Renaissance hierarchy and Shakespeare’s art increasingly problematic. Shakespeare saw that the Renaissance cosmos, the divine order, was coming to an end, and that the kind of art that he practiced was coming to an end at the same time and for the same reasons.

    2. The Storm

    The Tempest opens with a storm at sea, a crisis which directly poses the problem of authority. Shakespeare tests the basis of traditional hierarchy in the face of a larger crisis, which is presented as “natural” but with obvious allegorical implications; we know that hierarchy, as a cultural phenomenon, is threatened by cultural forces, not natural. The scene contrasts the aristocracy of the passengers with the meritocracy of the ship’s crew, who have presumably earned their authority, such as it is, through competence at their work. King Alonso and the other nobles emerge from below decks to chastise the mariners for their perceived incompetence in saving the ship. Gonzalo reminds the Boatswain, rather absurdly, “remember whom thou hast aboard” (1.1.18-19), as if the sailors would be more diligent protecting the lives of the aristocrats than their own lives. By interfering with the crew, the nobles only “assist the storm” (1.1.14), as the Boatswain points out. Aristocracy, the basis of English political order, is revealed as worse than useless in the face of a situation demanding the practical skills of the lower classes. The Boatswain tells Gonzalo:

    You are a councillor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more. Use your authority. If you cannot, give thanks you have lived so long and make yourself ready in your cabin for the mischance of the hour, if it so hap. (1.1.21-27)

    The aristocrats are obviously unable to “command these elements to silence,” and so Shakespeare makes clear here that human authority has no basis in nature, a recognition that seems obvious to us, but which directly contradicts Renaissance political theory, whereby the King’s authority was justified by reference to a cosmic order both natural and divine. As the Boatswain exclaims, “What care these roarers for the name of king?” (1.1.16-17). The storm has no respect for names and by extension, words. Language, the primary human institution and the basic resource for a dramatic artist, has seemingly lost its traditional power and significance. The Boatswain’s comments illustrate the necessary connection between representation and social order. Shakespeare’s emphasis on hierarchy in this scene leaves little doubt that the storm represents the larger political and cultural crisis that traumatized Europe during the early Modern period, a crisis which, the events of the play suggest, can be traced to the forces of individualism, creating a widespread skepticism about the value of traditional authorities: political, cultural, and religious.

    3. Shakespeare’s Anatomy of Authority

    The following scene with Prospero and Miranda provides quite a different perspective on the tempest. Miranda fears for the lives of those on board the ship, and asks her father to save them. But Prospero reassures her that the “direful spectacle of the wreck” is in fact “safely ordered” with “provision in mine art” (1.2.26, 28, 29). So it might seem that the crisis of authority during the storm is merely a façade, and that Prospero was in control the whole time, just as he controls the action throughout the play. We must not forget, however, that Prospero gives up his magic at the end of the play; so his time of power, such as it is, is coming to an end. Furthermore, the second scene, as I’ll argue, skeptically analyzes his authority in relation to his daughter, Ariel, and Caliban. In this scene, the play moves from the larger crisis of authority to the closely-related problem of the artist’s authority, the main issue of The Tempest.

    The second scene of the first act is a long exposition that explains, through dialogue, how Prospero and Miranda came to the island, how Ariel came to be Prospero’s servant, and Caliban their slave. The question for us is the basis of Prospero’s authority for each of these figures, who represent on one level his audience. Marjorie Garber comments that Miranda’s empathetic response to the shipwreck positions her as “the ideal spectator of tragedy and catharsis,” and in her reception of her father’s tale, “Miranda is the ideal audience, hanging on every word” (857). For Miranda, Prospero’s authority doesn’t appear problematic, since their relationship is based on mutual love and care, and Prospero claims without fear of contradiction that all his actions during the play are motivated by his love for Miranda (1.2.16-17). But Miranda is a modern girl with a lively sense of independence and great confidence in her desires. Introducing his account of their past, Prospero asks her, “Canst thou remember / A time before we came unto this cell?” (1.2.38-39). He immediately answers his own question without waiting for her reply, “I do not think thou canst, for then thou wast not / Out three years old” (1.2.40-41), revealing his authoritarian tendencies. Miranda, however, directly contradicts him—”Certainly, sir, I can” (1.2.41)— asserting her independence, her private, internal scene of representation, which opens onto “the dark backward and abysm of time” (1.2.50), a limitless abyss of selfhood.

    Prospero claims that Miranda is “ignorant of what thou art” (1.2.18) and she indeed looks to him to tell her “what I am” (1.2.34). Rather than a paternalistic determination of her limits, however, he recounts for her their common aristocratic heritage, a legacy which he will recover through the events of the play. In a traditional society, one’s family and birth indeed determine one’s identity, but Miranda is a self-fashioner who goes beyond her father’s injunctions, as in her romance with Ferdinand. She may seem passive during his account of her identity, but Prospero tells her the classic fairy-tale story that she is really a princess, though currently unrecognized by the world. Miranda, however, seems unimpressed by her noble heritage and more concerned with her father’s sufferings.

    A well-known crux of the second scene is Prospero’s repeated accusations that Miranda “attend’st not” (1.2.87) while he recounts the story of their exile. He begins his narrative with an injunction to “be attentive” (1.2.38), a command which he repeats in various forms several times during his account (1.2.67, 117, 135, 171). At three points he goes beyond the general charge to pay attention and directly accuses her of not listening to him: “Dost thou attend me?”; “Thou attend’st not”; “Does thou hear?” (1.2.78, 87, 106). At the end of his dialogue with Miranda he tells her, “Here cease more questions. / Thou art inclined to sleep. ‘Tis a good dullness, / And give it way. I know thou canst not choose” (1.2.185-87), although Miranda had not mentioned being sleepy. Later in the scene, after his dialogue with Ariel, Prospero wakes her, upon which she comments, “The strangeness of your story put / Heaviness in me” (1.2.309-10). On the above evidence, Girard claims that Miranda is “drowsier and drowsier” during this scene, due to her failed attempt to “absorb Prospero’s obsession and play it back to him” (Theater 352); although Girard doesn’t consider any of the problems raised by this interpretation. I will argue, in contrast, that Prospero’s anxiety about Miranda listening to him signifies a vulnerability that points to the limits of his authority.

    Apart from Prospero’s accusations, what evidence is there that Miranda is indeed almost falling asleep during his account of their past? The story he tells concerns not just his personal “obsession,” but their common history, her aristocratic heritage, a major turning point in their island life, and her very identity. Moreover, his story is hardly boring but rather a gripping account of betrayal and exile. Miranda’s comments during his tale suggest not drowsiness but intense interest. She interjects apposite observations and questions throughout his narrative, and she rejects immediately his suggestions that she lacks attention. When he questions her for a third time, “Does thou hear?” she replies, “Your tale, sir, would cure deafness” (1.2.106). Indeed. But she is clearly asleep during his dialogue with Ariel, needing to be awakened before the appearance of Caliban. Miranda seems largely ignorant of Ariel and his role in the action, so it appears that Prospero has deliberately concealed Ariel from her.

    We have to consider the possibility that Prospero puts Miranda to sleep using his magic, which is a traditional interpretation in performance. Early in the scene, as he begins his dialogue with Miranda, he asks her, “Lend thy hand / And pluck my magic garment from me. So, / Lie there my art” (1.2.23-25). Bevington, like most editors, adds the stage direction to these lines, “laying down his magic cloak and staff.” Later in the scene, as he finishes talking with Miranda and begins his conversation with Ariel, he would require his magic (and hence his cloak and wand) in order to command a spirit. Editors often add a stage direction for Prospero to put back on his magic cloak (upon his words, “Now I arise” [1.2.170]) shortly before Miranda falls asleep. Presumably, then, Prospero waves his wand as he tells her, “Thou art inclined to sleep. . . . / I know thou canst not choose” (1.2.186-87).

    So if Miranda is not drowsy, and Prospero indeed puts her to sleep with his magic, then why does he repeatedly command her to listen? The editors of the Third Series Arden edition, Virginia and Alden Vaughan, comment, “Prospero’s demands for Miranda’s attention here [1.2.78] and later in [lines] 87 and 106 need not imply that she is inattentive; they more likely indicate Prospero’s increasing agitation as he recalls the circumstances of Antonio’s treachery” (175, fn. 78). The Vaughans’ comment is good advice for the actor playing Prospero, but it raises the question of why Prospero’s agitation should take this particular form and not another. Prospero’s anxiety about Miranda listening to him suggests, at the very least, his vulnerability as an authority figure in relation to Miranda. On one level, his repeated comments to Miranda are symptomatic of the weakness of his old age; but his old age itself has an allegorical dimension pointing to a real problem of authority, one that Prospero has internalized so that is shows even when there is no real threat. In allegorical terms, there is a significant tension, introduced by individualism, between the artist and even the most sympathetic members of his audience. Upon meeting Ferdinand later in this scene, Miranda will have her own story that is more compelling to her than any of her father’s plots.

    Shakespeare continues his anatomy of authority with Prospero’s dialogue with Ariel. Upon Prospero’s summons, Ariel begins by proclaiming his loyalty and obedience to Prospero, but as Prospero starts to give further orders, Ariel protests his servitude,

    Is there more toil? Since thou dost give me pains,
    Let me remember thee what thou hast promised,
    Which is not yet performed me. (1.2.243-45)

    Ariel demands simply, “My liberty” (1.2.246), that most modern of values, which trumps duty or obedience. In part, this exchange is a lead-in to Prospero’s retelling of their history: how Prospero rescued Ariel from imprisonment in a tree in return for his services for a fixed period. Ariel impatiently awaits the freedom that is promised him.

    It’s possible to overemphasize the antagonism between Prospero and Ariel. Prospero refers to Ariel constantly with terms of endearment. Later in the play, Ariel asks Prospero, for no apparent reason, “Do you love me, master? No?” (4.1.48), in a remarkable display of tender vulnerability. Prospero answers immediately, “Dearly, my delicate Ariel” (4.1.49). There is considerable affection, freely given, between them. Nevertheless, their relationship is based mainly on a mutual agreement, a contract. Prospero has freed Ariel from imprisonment, and Ariel has agreed to serve Prospero for a set period of time in return. Their relationship depends upon reciprocal duties, and the contract is enforced by the threat of force: “If thou more murmurs’t,” Prospero warns him, “I will rend an oak / And peg thee in his knotty entrails till / Thou hast howled away twelve winters” (1.2.296-98). With this comment and when he accuses Ariel of lying and calls him a “malignant thing!” (1.2.258), Prospero wildly overreacts to Ariel’s respectful reminder of their agreement, signifying, as in his dialogue with Miranda above, paranoia about his authority. Still, to the degree that their relationship requires an enforced agreement, it is truly problematic. Ariel serves Prospero readily for the rest of the play, and the last lines of the play, not counting the epilogue, are Prospero’s request for fair weather on the return trip, after which, he promises Ariel, “to the elements / Be free, and fare thou well!” (5.1.321-22). His farewell, free from any reproachful bitterness about the end of their relationship, is a generous gift of freedom to the spectators who are also his collaborators, who have granted him a “willing suspension of disbelief” during this performance and throughout his career, the most powerful magic of all.

    The next relationship in Shakespeare’s anatomy of authority is Prospero and Caliban. Prospero’s connection with Caliban was initially characterized by mutual service not unlike Ariel’s. At first, as Caliban relates, Prospero and Miranda treated him kindly, like a member of their family; “And then I loved thee / And showed thee all the qualities o’th’isle, / The fresh springs, brine pits, barren place and fertile” (1.2.339-41). According to Prospero, however, this idyllic relationship came to an end when Caliban “didst seek to violate / The honor of my child” (1.2.350-51), a crime which Caliban does not recognize as such, and for which he is unrepentant. Caliban is presented as incorrigible, beyond the effects of education and culture, although he does display a fine sensitivity to the music of the island and an aptitude for swearing. As a result of the attempt to rape Miranda, Caliban is enslaved by Prospero and forced to bring them wood and water. Although Caliban’s actions have precipitated this turn in their relationship, Prospero justifies his enslavement weakly, telling Miranda, “We cannot miss him. He does make our fire, / Fetch in our wood, and serves in offices that profit us” (1.2.314-16). Shakespeare, if not Prospero, presents Caliban’s enslavement as an artifact of Renaissance hierarchy, whereby aristocrats do not perform manual labor, rather than any kind of just punishment. There is no mutuality at all in their current relationship; the profit is all on the side of Prospero, and Caliban is tortured horribly by spirits if he fails to do as he is told. Significantly, Caliban has his own version of events, by which he is the rightful owner of the island that was stolen from him by Prospero. Unlike the stories of Miranda and Ariel, there is no prospect of agreement upon a common narrative. Prospero’s authority for Caliban is the most primitive form of authority, the imminent threat of violence.

    When we examine Prospero’s three main relationships on the island, in terms of the basis of his authority, a pattern emerges. The key variable is reciprocity. In the case of Miranda, his authority for her is equal to her authority to him. Although he is ultimately the one who can give orders, his motive is to serve her more than himself. Their relationship is characterized by a mutual exchange of love and devotion. But even this wholly reciprocal relationship is problematic as Miranda asserts her independence, especially in her relationship with Ferdinand. In the case of Ariel, their relationship is described as a mutually-beneficial contract but one which is enforced by the threat of violence. Here there is considerable reciprocity and even affection, but Prospero is more powerful than Ariel, who desires freedom above all and is forced to serve Prospero. In this case, there is more open rebellion, and Prospero’s language, if not his actions, is occasionally violent. With Caliban, there is no reciprocity, no agreement about their mutual history, and their relationship is characterized by violence, both the torture employed by Prospero and the attempted murder of Prospero by Caliban and his cohorts. Prospero has power over Caliban but no authority.

    Shakespeare’s anatomy of authority in the second scene demonstrates that authority in the modern world depends upon reciprocity. The less reciprocal and mutual each relationship is, the more fragile it is, and the more likelihood of violence. Shakespeare’s argument follows naturally from the revelation in the opening scene, that there is no basis for authority in nature, no basis that is not inherent to those relationships themselves. Shakespeare’s view on authority here is quite modern and democratic. The most effective authority depends upon equality. And if authority is really completely equal, then it’s not clear that we can really call it authority at all, but rather some kind of mutually beneficent agreement. Quite radically, Shakespeare rules out the unwilling service of an inferior such as Caliban. Where there is no reciprocity, authority is untenable.

    Shakespeare is hardly a cynic, asserting that individuals are ruled by self-interest alone. Some individuals, such as Caliban, Antonio, and Sebastian are, but others such as Miranda, Ariel, and Prospero himself are capable of self-sacrificing love. Still, we see that authority depends solely on the immanent specifics of human relationships rather than any external cosmic order; ideally, authority depends on mutual respect, the only sure foundation. The threat of violence is the least effective form of authority, because as soon as one’s back is turned, as soon as the immediate danger of punishment is lifted, all obedience immediately ceases and turns to its opposite. Especially in the agreement between Ariel and Prospero, Shakespeare’s analysis anticipates the political theories of Hobbes and Locke, by which the public order is founded on a social contract in which each individual participates equally, turning over some liberties to the State in return for the reciprocal protection of basic rights. Prospero’s relationships test the limits and basis of authority, because he is, in many ways, still an old-fashioned type of authority who rules by the “magic” of cosmic order, a form of authority rapidly becoming untenable in the modern world.

    Many critics have tried to interpret Ariel and Caliban in allegorical terms. Girard, for example, sees Caliban and Ariel as aspects of Shakespeare’s psyche as he developed as an artist. Caliban, in Girard’s reading, represents Shakespeare’s raw and dangerous mimetic process that he had to overcome in order to mature as an artist, while “Ariel represents the more refined, ethical, and noble literary mode that the later Shakespeare wants to substitute for Caliban” (347). Girard’s interpretation is not that far from the traditional reading that Ariel represents spirit and Caliban earth as the twin sources of Shakespeare’s artistic inspiration. In this reading, the whole play becomes, in effect, a psychomachia, a battle within Prospero’s soul. Peter Greenaway, in his film version of The Tempest entitled Prospero’s Books, was evidently inspired by this interpretation when he has John Gielgud, playing Prospero, speak the lines of all the characters in voiceover. Girard’s interpretation assumes an anachronistic, romantic self-obsession on Shakespeare’s part that is foreign to his fundamentally social artistic ethos. For Shakespeare, the artist is essentially a social figure, not the isolated romantic genius. The Tempest, like all great drama and narrative, has an allegorical dimension; Miranda, Ariel, and Caliban represent the artist-magician’s audience. But they represent his audience precisely as individuals, not as personifications of ideas or types. Their relationship to Prospero categorizes them as his audience, but apart from that relationship, their characters are defined by their personal characteristics and history, as with all individuals.(4) The fact that Prospero depends upon each of them, in different ways, to enact his schemes illustrates the essentially dialogic nature of art and the collaborative spirit of drama especially, which depends so much upon the imagination of the audience, as the Chorus to Shakespeare’s Henry V famously points out. As individuals, Miranda, Ariel, and Caliban resist any attempts to rigidly limit their identity.

    4. The End of Romance

    The problem with Shakespeare’s dramatic magic, The Tempest suggests, is the necessarily hierarchical relationship between the artist and his audience. It might be objected here that the artist actually serves the audience rather than the other way around. This is true for the popular artist with no larger ambitions, and for this reason the popular artist is not generally a figure of resentment insofar as he or she succeeds in entertaining. Shakespeare is popular, no doubt, but his art constantly challenges the audience, expanding its knowledge and understanding of the human (which he considers in originary and historical terms). During the Renaissance, art was usually justified by its fidelity to nature and its moral functionality. “[T]he purpose of playing,” in Hamlet’s words, “is to hold as ’twere the mirror up to nature; to show virtue her own feature, scorn her own image” (Hamlet 3.2.20-23). By the same token, Prospero confronts the “three men of sin” (3.3.53)—Alonso, Antonio, and Sebastian—with their own moral depravity, although the latter two show no signs of repentance, again suggesting the limits of the artist’s power. It’s true, of course, that the Renaissance conceived of the playwright as a craftsperson rather than a Romantic genius, but this more limited conception hardly insulates the artist from resentment. The prevalence of defensive or apologetic, occasionally “armed,” prologues and epilogues during this time period suggests that the artist was a vulnerable figure. The essential point is that a play is known to be and experienced as the product of the artist’s vision. The artist is structurally the god of his creation, whose powers are indeed magical in relation to the world of the artwork. The power of the artist in relation to his audience, of course, is a great deal more contingent and fragile—which is the theme of The Tempest. Nevertheless, the price of admission to the imaginative world of the play is submission to the artist’s vision. The Tempest suggests that the implied contract between artist and audience is breaking down. Shakespeare was to some extent anticipating future developments. Garber asks, quite recently, “Why should the audience prefer Prospero the magician and his daughter Miranda over Sycorax the magician and her son Caliban? Both Sycorax and Prospero keep Ariel in bondage” (868)—ignoring, of course, the material differences between Sycorax’s unconditional bondage of Ariel and Prospero’s reciprocal contract with him. Garber’s point reflects that of a recent generation of critics who view Prospero as the colonial oppressor. As Shakespeare’s audience, these critics reflect the hostility of Caliban, whom previous generations demonized, but who is now generally regarded as a tragic figure.

    Shakespeare’s retirement was undoubtedly a contingent event, not a conscious response to any problems of reception. But he was clearly anticipating his retirement as he wrote the play, and he used the occasion to reflect on the future of his kind of art. Art, of course, continues after Shakespeare’s death. But successful artists after the interregnum took different strategies, in terms of both form and content, to mitigate the potential for resentment in the reception of their work. Shakespeare’s turn to Romance in his final plays anticipates some of these future developments.(5)

    In the epilogue, Prospero explicitly acknowledges his dependence upon the audience:

    Now my charms are all o’erthrown,
    And what strength I have’s mine own,
    Which is most faint. Now, ’tis true,
    I must be here confined by you
    Or sent to Naples. Let me not,
    Since I have my dukedom got
    And pardoned the deceiver, dwell
    In this bare island by your spell,
    But release me from my bands
    With the help of your good hands.
    Gentle breath of yours my sails
    Must fill, or else my project fails,
    Which was to please. Now I want
    Spirits to enforce, art to enchant,
    And my ending is despair,
    Unless I be relieved by prayer,
    Which pierces so that it assaults
    Mercy itself, and frees all faults.
    As you from crimes would pardoned be,
    Let your indulgence set me free. (1-20)

    Prospero notes his “charms are all o’erthrown,” the passive voice and verb choice suggesting usurpation rather than a voluntary abdication of his magic, such as he promised earlier (“I’ll break my staff, . . . drown my book” [5.1. 54, 57]). The two versions taken together suggest a more or less forced resignation: he renounces his magic in a recognition that it has lost its power without the audience’s help, who now hold Prospero in their “bands” with a “spell,” reversing the conventional relationship. Prospero claims that because he has lost his magic, therefore he is weak and dependent on the audience, their “prayer.” But the play, taken as a whole, suggests that his magic always depended on the audience, and now, without their mercy, he is helpless, dependent on their “indulgence.” The figure of the artist as a powerful mage is no longer applicable. Indeed, his “project” is now quite humble: merely “to please” his spectators.

    Unlike his contemporaries Spenser, Sydney, and Jonson, Shakespeare left us no nonfiction statements about poetry. But his art constantly reflects upon itself and constitutes a profound and detailed exploration of the meaning, purpose, and limits of poetry in the Renaissance. Prospero’s great elegies on his artistic career are among Shakespeare’s most important statements in this regard. Late in the play, after abruptly ending the wedding masque for Miranda and Ferdinand, Prospero explains apologetically,

    Our revels now are ended. These our actors,
    As I foretold you, were all spirits and
    Are melted into air, into thin air;
    And, like the baseless fabric of this vision,
    The cloud-capp’d towers, the gorgeous palaces,
    The solemn temples, the great globe itself,
    Yea, all which it inherit, shall dissolve,
    And, like this insubstantial pageant faded,
    Leave not a rack behind. We are such stuff
    As dreams are made on, and our little life
    Is rounded with a sleep. (4.1.148-158)

    The time of his art has come to an end—”Our revels now are ended.” Not just this particular performance, not just Shakespeare’s career, but, allegorically, the Renaissance era is drawing to a close and “all which it inherit.” This ending is closely associated with the decline of traditional religion in the West, brought about by Judeo-Christian iconoclasm in the largest sense. The Tempest itself exemplifies such iconoclasm in that it skeptically deconstructs the sources of the artist’s authority, even while giving tribute to his power and vision. This “apocalypse” affords the artist an insight into the nature of his project, its majesty and power: “this vision, / The cloud-capp’d towers, the gorgeous palaces, / The solemn temples, the great globe itself”—all dissolving into “air, into thin air.” This is undoubtedly a great loss, but Prospero reassures his audience: “You do look, my son, in a moved sort, / As if you were dismayed. Be cheerful, sir” (4.1.146-7). However majestic, his art is finally a “baseless fabric,” an “insubstantial pageant,” which will fade and “Leave not a rack behind.” In a characteristic gesture of humility, Shakespeare acknowledges that art is necessarily illusion, a gesture that anticipates and wards off any objections by the audience. The power of any particular artwork or form is temporary and functional, not essential or universal.

    Prospero goes on to connect art to life itself: “We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep.” Not only art, not only the products of our imaginations are illusion, but our very life itself, comparable to a dream which vanishes upon waking. How can this leap from art to life be justified? Perhaps Prospero is speaking for himself as a performer in the play, whose identity ceases with the performance. Or he could be referring to the short term of our lifespan from a cosmic perspective. A third possibility is that our life shares certain essential characteristics with art, considered as illusion—an anthropological insight that is borne out but also qualified by Eric Gans’s originary hypothesis.(6) The human species is distinguished by language, which, in Gans’s hypothesis, originates to signify the sacred, similar, in this respect, to Prospero’s magic. Language itself, therefore, includes an element of illusion, since the sacred is generated by human’s mimetic tendencies (even as it transcends them), not anything supernatural. This originary heritage in the sacred, considered here as illusion, can be minimized but never completely eliminated.

    The occasion for Prospero’s speech above is his sudden remembering of “that foul conspiracy / Of the beast Caliban and his confederates / Against my life” (4.1.139-41), which, allegorically, represents the forces of individualism threatening his art. The beautiful and harmonious spectacle of the wedding masque, the music of the spheres, is giving way to the discordant jangle of Modernity, figured by the harsh baying of the hounds sent to harass Caliban and his gang. Ferdinand comments upon Prospero’s reaction: “Your father’s in some passion / That works him strongly” (4.1.143-44). And Miranda responds, “Never till this day / Saw I him touched with anger so distempered” (4.1.144-45). Prospero seems to be what we now call “projecting” when he says to Ferdinand, “You do look, my son, in a moved sort, / As if you were dismayed. Be cheerful, sir” (4.1.146-7), words that are apparently directed more to himself than his son and daughter. Anyone, of course, would be disturbed upon remembering a plot on his life which is nearing its aim. But in this case, Prospero’s reaction seems excessive. With Ariel on the watch, and with Prospero’s knowledge of the plot, there doesn’t appear to be any serious threat from “Caliban and his confederates.” A more inept conspiracy could hardly be imagined. As we noted above, however, what is at stake here is not just the happenstance of Caliban’s plot, but rather what it represents in larger terms. By the same token, Prospero’s exaggerated reaction signifies not just the contingency of a man becoming irritable and old (as Prospero excuses himself—”Sir, I am vexed. / Bear with my weakness. My old brain is troubled. / Be not disturbed with my infirmity. . . . / . . . A turn or two I’ll walk to still my beating mind” [4.1.158-163)]), but also the vulnerability of the artist, his dependence upon a fickle and increasingly independent audience.

    Prospero’s reflections upon his art are expanded in his famous farewell to the island’s spirits, which, along with the epilogue, explicitly states his renunciation of magic:

    Ye elves of hills, brooks, standing lakes, and groves,
    And ye that on the sands with printless foot
    Do chase the ebbing Neptune, and do fly him
    When he comes back; you demi-puppets that
    By moonshine do the green sour ringlets make,
    Whereof the ewe not bites; and you whose pastime
    Is to make midnight mushrooms, that rejoice
    To hear the solemn curfew; by whose aid,
    Weak masters though ye be, I have bedimmed
    The noontide sun, called forth the mutinous winds,
    And twixt the green sea and the azured vault
    Set roaring war; to the dread rattling thunder
    Have I given fire, and rifted Jove’s stout oak
    With his own bolt; the strong-based promontory
    Have I made shake, and by the spurs plucked up
    The pine and cedar; graves at my command
    Have waked their sleepers, oped, and let ’em forth
    By my so potent art. But this rough magic
    I here abjure, and, when I have required
    Some heavenly music–which even now I do–
    To work mine end upon their senses that
    This airy charm is for, I’ll break my staff,
    Bury it certain fathoms in the earth,
    And deeper than did ever plummet sound
    I’ll drown my book. (5.1.33-57)

    Prospero gives no explicit reason during the play why he decides to abjure his magic, but this speech gives us some important clues. The elves and spirits he evokes are relics from England’s past; he calls on them not as individual spirits, but rather collectively, and as such they are integral to the cosmic order, the same order and hierarchy which underlies his artistic vision. Their independent activities as he describes them are essentially playful and fanciful—making “midnight mushrooms,” chasing the waves that lap the beach, making “green sour ringlets” in the pastures, rejoicing in nighttime revels—like the art itself of a bygone age, a golden age untroubled by Machiavellian politics—and like all golden ages, essentially mythic. His speech suggests that such spirits, as “weak masters,” are in one sense dependent upon the artist, while he likewise depends upon them. At the artist’s command, they perform terrifying spectacles of power—earthquakes, lightning, thunder, eclipse, and even the revival of the dead. Shakespeare here pays homage to the power of his “so potent art” and the faith of a dying age, which saw in such events the hand of God. He characterizes his art as “rough” or violent “magic”—the hierarchical order of the cosmos implies a certain violence; in Girardian terms, a sacrificial basis, which is to some extent expressed even in the relationship of the Renaissance artist to the general public. The awe-inspiring magical performances are ambiguously supernatural and unnatural—a violation of the natural order, suggesting their essential ambivalence within the play. The demise of his magic is presented as final and even apocalyptic. His staff he’ll “break” and “drown” his “book,” an ending without possibility of revival.

    5. The Future

    Prospero, sans magic, has little hope for the rest of his life, planning to “retire me to my Milan, where / Every third thought shall be my grave” (5.1.314-5); but the world will continue without him, and Prospero’s attitude toward the future is relevant to the larger question of the shift to Modernity represented in the play. What comes after the Renaissance artist? Miranda and Ferdinand are the next generation, so their natures and their relationship hold the answer to this question. Prospero plans for Miranda and Ferdinand to fall in love, and their marriage will unite the kingdoms of Milan and Naples, ending their historic hostility. So their relationship might seem to confirm the authority of the artist and his power to shape the future. But in fact, as I’ll argue, Prospero is less important than usually recognized in this regard.

    When Miranda and Ferdinand first meet each other, they fall in love literally at first sight. Prospero remarks in an aside, “At the first sight / They have changed eyes” (1.2.444-5). But Prospero immediately intervenes, commenting to the audience, “this swift business / I must uneasy make, lest too light winning / Make the prize light” (1.2.454-56). Things easily won are not highly valued, as every coquette knows, but Miranda is no coquette; so in her naïve lack of pretense, Prospero must introduce barriers that serve the same role. Girard argues that Prospero understands the mimetic nature of desire, and he sets up obstacles precisely in order to reinforce their love (Theater 350). Since there are no obstacles to their love, he must invent them, and so Prospero accuses Ferdinand of plotting to overthrow his island reign, confines him by magic, and sets him to work piling up “Some thousands of these logs” (3.1.10). The question is whether Prospero’s interventions serve any constructive role, or if he is actually completely superfluous beyond his role in arranging their initial meeting. Later in the play, apologizing to Ferdinand, he says, “All thy vexations / Were but my trials of thy love, and thou / Hast strangely stood the test” (4.1.5-7). Prospero is not a Machiavellian schemer, arranging a dynastic match with no consideration for his child’s feelings. The fact that Ferdinand is heir to the throne is important, of course, but Prospero wants to make sure that Miranda will be happy with him, and so a test of his resolve seems warranted. But as Prospero himself notes, “thou / Hast strangely stood the test,” suggesting that Ferdinand has shown no inclination towards inconsistency.

    Miranda’s reaction to her father’s interventions is also significant for understanding their role. When her father accuses Ferdinand of plotting, her first reaction is in line with the naiveté which is her most notable characteristic: “There’s nothing ill can dwell in such a temple” (1.2.461). Events, however, bear out her initial estimation of Ferdinand’s character, which is indeed completely faithful, courtly, and virtuous. Prospero, however, reacts harshly to her pleadings, “What I say, / My foot my tutor?” and forbids her to speak for him or to see him (1.2.472-3). This turn of events, of course, is part of his plan. What is important is Miranda’s response. She refuses to be silent, and she disobeys him by visiting Ferdinand and helping him. During her visit, they exchange vows of true love and marriage. Her disregard for her father’s commands confirms her independent nature; there is nothing of Ophelia’s submissiveness in Miranda’s positive confidence in her desires, which apparently owe nothing to her father’s mediation. Her assurance in herself and in Ferdinand proves completely warranted in the play.

    Some critics have assumed that Prospero’s dire warnings against premarital sex must be somehow necessary, but there is no evidence for such in the text we have. In the fourth act, after acquiescing in their marriage, he warns Ferdinand sternly:

    If thou dost break her virgin-knot before
    All sanctimonious ceremonies may
    With full and holy rite be ministered,
    No sweet aspersion shall the heavens let fall
    To make this contract grow; but barren hate,
    Sour-eyed disdain, and discord shall bestrew
    The union of your bed with weeds so loathly
    That you shall hate it both: therefore take heed,
    As Hymen’s lamps shall light you. (4.1.15-23)

    But Ferdinand is literally the perfect gentlemen, so what purpose does this warning serve, which Prospero repeats again soon after?

    Look thou be true; do not give dalliance
    Too much the rein. The strongest oaths are straw|
    To the fire i’th’ blood: be more abstemious,
    Or else good night your vow! (4.1.51-4)

    Indeed, the wedding masque itself quite pointedly excludes the interference of Venus and her son Cupid, who would presumably lead the couple into fornication. Prospero’s persistent intermeddling into Miranda and Ferdinand’s relationship is of the same order as his vexation upon remembering Caliban’s plot: “Sir, I am vexed. / Bear with my weakness. My old brain is troubled. / Be not disturbed with my infirmity. . . . / . . . A turn or two I’ll walk to still my beating mind” (4.1.158-163). Again we see that Prospero feels that his authority is vulnerable even when there is no immediate occasion. But the main point that Shakespeare makes with all of Prospero’s anxious interfering is that he is completely superfluous to their relationship, which is good news since they represent the future. Miranda and Ferdinand’s love for each other is all that is needed.

    The one time that there is even any hint of discord between Miranda and Ferdinand comes in the final scene, when Prospero dramatically pulls back a curtain to reveal the couple playing chess. The shipwrecked nobles, including Ferdinand’s father Alonso, had thought Ferdinand dead, so for them at least the scene seems to confirm Prospero’s magical powers. But the royal couple are quite purposely independent here as throughout the play. They don’t notice the onstage audience at first, so their conversation is presumably candid, directed solely at each other. Critics have noted that chess was rather exclusively “associated with royalty in Jacobean England, . . . and Naples was known as a centre of chess-playing” (Vaughan & Vaughan 296, fn.171). Garber, for example, sees this scene as anticipating their future rule, when they will be literally moving knights and bishops around their kingdom (869). But chess is also a game of war, so the scene hints at conflict simply by the choice of game. More seriously, Miranda accuses Ferdinand of cheating: “Sweet lord, you play me false” (5.1.173). The implication is that Miranda is perhaps losing and makes the accusation playfully, since Ferdinand immediately denies it: “No, my dearest love, / I would not for the world” (5.1.174-5). Miranda replies, “Yes, for a score of kingdoms you should wrangle, / And I would call it fair play” (5.1.176-77). Miranda’s love is such that even if Ferdinand had cheated her out of a score of kingdoms, she would call it fair play anyway and forgive him without challenge. In contrast to her typical naiveté, Miranda here displays a sophisticated knowledge of the possibility of deceit and a fine comic irony in her teasing accusation. Ferdinand is perhaps the more innocent player, since he doesn’t seem to catch Miranda’s irony immediately. In both the game itself and Miranda’s allegation, Shakespeare calls attention to the ever-present possibility of conflict, even Machiavellian scheming with the charge of cheating, such as resulted in Prospero and Miranda’s banishment. How Miranda and Ferdinand deal with this possibility is key to Shakespeare’s hopes for the future. On the one hand, conflict is sublimated through the game of chess and in the irony which Miranda displays in the possibility of losing. A couple who can deal with mimetic tensions through games and teasing is less likely to resort to actual violence or treachery. Without any romantic or idealistic delusions, they implicitly accept the inevitability of resentment. Furthermore, Miranda demonstrates the ability to overcome such resentment with unconditional love and forgiveness. Miranda’s resourcefulness makes Prospero’s magic unnecessary, providing a more realistic alternative for the new age dawning.

    6. Conclusion

    Prospero’s magic represents Shakespeare’s art; this is generally accepted. But his magic is also a token of Renaissance hierarchy, which was understood as a cosmic order. The connection between art and magic, therefore, is not a contingent analogy, but rather more intimate, together forming an organic whole, together depending upon a respect for authority which was declining due to the rise of individualism. Largely as a result of Protestantism, the private self was recognized as an independent center of sacrality, and no longer perceived as dependent upon the public scene. In Shakespeare’s plays, such independence is generally limited to the upper classes. Caliban, after all, is for the most part a comic character and forced to repent at the end of the play: “I’ll be wise hereafter / And seek for grace” (5.1.289-99). Such limits are among the reasons that the time of Shakespeare’s art is drawing to a close. His plays and poems can be understood as a subversion of the public scene, the medieval, hierarchical order. Ironically, while his art depends upon hierarchy, he consistently undermines its sacred foundation, bringing about its own demise. At the end of his career, he turns his iconoclasm finally on himself or rather the figure of the artist as grand magician. Prospero undergoes, in effect, a ritual humiliation, one which he virtually arranges himself. The play begins with Prospero as the grand magician, orchestrating the awesome tempest with ease. But the events of the play reveal him as a weak and troubled old man, forced to beg for applause in the Epilogue, and superfluous to the new age dawning with Miranda and Ferdinand. Miranda’s comment upon seeing the assembled crowd of shipwrecked nobles, “O brave new world / That has such people in’t!” (5.1.185-86), is always taken as ironic on Shakespeare’s part, since the group includes such villains as Sebastian and Antonio. Yet the larger group also includes Miranda herself, and her imagination and ingenuity are indeed tokens of a promising future. And so we should read her “brave new world” seriously, as Shakespeare’s blessing upon the new age of modernity dawning.

    Works Cited

    Capp, Bernard. “The Political Dimension of Apocalyptic Thought.” The Apocalypse in English Renaissance Thought and Literature. Eds. C.A Patrides & Joseph Wittreich. Ithaca, NY: Cornell University Press, 1984. 93-124. Print.

    Clark, Peter. “Introduction.” The European Crisis of the 1590s: Essays in Comparative History. Ed. Peter Clark. London: George Allen & Unwin, 1985. 3-22. Print.

    Gans, Eric. Originary Thinking: Elements of Generative Anthropology. Stanford, CA: Stanford University Press, 1993. Print.

    Garber, Marjorie. Shakespeare After All. New York: Pantheon, 2004.

    Girard, René. A Theater of Envy: William Shakespeare. South Bend, IN: St. Augustine’s Press, 1991.

    ———. Things Hidden Since the Foundation of the World. Trans. Stephen Bann & Michael Metteer. Stanford: Stanford University Press, 1987. Print.

    Outhwaite, R. B. “Dearth, the English Crown and the ‘Crisis of the 1590s.’” The European Crisis of the 1590s: Essays in Comparative History. Ed. Peter Clark. London: George Allen & Unwin, 1985. 23-43. Print.

    Shakespeare, William. The Complete Works of Shakespeare. Fifth edition. Ed. David Bevington. New York: Pearson-Longman, 2004.

    Vaughan, Virginia Mason and Alden Vaughan, eds. The Tempest. The Arden Shakespeare, Third Series. Arden-Bloomsbury, 2011. Print.

    Notes

    1. On the popularity of commentaries on Revelations, see Capp 100-1. (back)

    2. On the influence of the New Testament for the development of novelistic realism, see Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. Willard R. Trask (Princeton, NJ: Princeton University Press, 1953). (back)

    3. See Book III on “Interdividual Psychology” in René Girard’s Things Hidden Since the Foundation of the World, trans. Stephen Bann & Michael Metteer (Stanford: Stanford University Press, 1987): 283-431. (back)

    4. By the same token, Prospero is an individual yet representative dramatic artist rather than Shakespeare. There is no warrant for assuming that Prospero’s foibles are common to Shakespeare. (back)

    5. On Shakespeare’s turn to Romance, see my “The Winter’s Tale and Antitheatricalism: Shakespeare’s Rehabilitation of the Public Scene,” Anthropoetics: The Journal of Generative Anthropology 17.1 (Fall 2011). (back)

    6. See Originary Thinking: Elements of Generative Anthropology by Eric Gans (Stanford, CA: Stanford University Press, 1993), especially pp. 1-28. (back)

  • City Walking and Narratives of Destiny

    In this essay, I will look at two narratives by former Soviet writers, written about New York and London and thematizing walks through the two cities. The first is a novel by Edward Limonov, written in 1976, and the second is a short story by Zinovy Zinik, written in 1994. Both writers belong to the immigrant generation of the so-called Third Wave, which spanned the period between the seventies and eighties. This group of immigrants contained a relatively large percentage of professional and amateur writers and journalists who could not realize their talents in the Soviet Union and were induced or sometimes forced to leave. Many of these people opened newspapers, journals, and publishing houses. Others became active literary contributors. This became a vibrant and dynamic period of unprecedented literary activity. In retrospect, its literary output was probably more important for Russian literary history than the corresponding production of metropolitan literature in the same years. Those whose work was censored under the Soviet regime became published authors for the first time, among them the two authors I will present. Not only did they become known among fellow immigrants, but their books were smuggled back to the Soviet Union, where they achieved an underground cult status. They could not have dreamed of greater influence and popularity. Since the breakdown of the former Soviet Union, the vibrant émigré literary scene has all but ended its existence. As Zinovy Zinik expressed this, the metropolitan literature has reasserted itself and has since engulfed the periphery. But in the period between early 1970s and late 1990s, Third Wave writers enjoyed fame among their former compatriots and occupied a position of literary centrality, with Paris, Berlin, London, and especially New York acting as surrogates for the Russian literary centers of Moscow and Leningrad.

    Thematically, I would like to focus on two literary treatments of walking around New York and London. In their wanderings through New York, the writers trace the remembered landscapes of origin (typically Moscow or Leningrad) over the topography of New York and London. For Zinik, it is Moscow. For Limonov, however, it is not only Moscow, the literary capital, where his coming-of-age as a poet took place, but his native Kharkov in Ukraine, where he had grown up and started on a criminal career, later interrupted by his move to Moscow. What interests me in these texts is two things: firstly, how this imaginary “double-exposure” between the new and the old home creates the necessary context for a metanarrative exploration of what constitutes the idea of narrativity and secondly, how these explorations amount to narratives of destiny, which I see as exemplary originary narratives.

    Limonov’s autobiographical novel, It’s me, Eddie, (released by its American publisher under the subtitle of “The Fictional Memoir”), recounts his traumatic experiences soon after immigrating to the U.S., his year of being down and out in New York City. He meets with adversity when his model-wife leaves him for a rich man and he is fired from a Russian newspaper (for a politically incorrect editorial). After he tries his hand at bussing tables at a restaurant and realizes he cannot do it, he is subsequently reduced to surviving on welfare checks and occasional part-time jobs. The book gained a great deal of notoriety because of its sexual explicitness and bad language, as well as Limonov’s open embrace of homosexuality and leftist politics—a position that went against the grain of social norms and political allegiances within the socially and politically conservative Russian émigré community. Limonov calls himself a flâneur and dedicates several longs sequences in the book to his aimless walks through New York City, during which he observes other pedestrians and has homosexual encounters with black homeless men, all the while recalling his criminal past in Kharkov and fantasizing about a future communist revolution in the U.S., which he would help bring about and thus revenge himself on rich men, who steal poor immigrants’ wives. The section at which I want to take a closer look is the chapter that describes his various Manhattan itineraries and ends in Central Park by the sculpture of Alice in Wonderland.

    Zinik’s story, “The Double Act in Soho” is about another unsuccessful Russian immigrant. Unlike Limonov’s alter ego, Eddie, who is a young man and a relatively new arrival, Alex, the protagonist of Zinik’s story, is an older man, who has lived in London for a long time. He tries to make a living by writing articles for Russian immigrant publications, but is not very successful at it and can hardly make ends meet. While Eddie is an extremely fashion-conscious “dandy,” who takes pride in his flashy clothes and high-heel boots that he manages to buy on his meager earnings (this is the only reason he takes part-time jobs), Alex is a slovenly dresser, pot-bellied and balding, who is keenly aware of his unkempt appearance and the, poor impression he must make on the opposite sex. Just like Eddie, but in a more profound and desperate way, he considers himself a loser. The story begins with Alex taking an interest and almost instantly falling in love with a young woman, Lena, whom he correctly guesses to be Russian, and following her around Soho’s sex shops, where she is conducting marketing research on American pornographic videos. Alex, who has no idea why she keeps asking shop assistants about American videos and rummaging through American video sections, keeps revising the story he has created about her. After they finally introduce themselves, he suggests that they join forces and do the research together under a plausible excuse (as Russian tourists looking for a business venture) that would help them avoid detection, since they are supposed to keep their survey a secret. Eventually, Alex’s slips of the tongue blow their cover. In the last part of the story, the direction of the narrative reverses. Instead of chasing the girl, Alex and Lena are now themselves chased by the thugs of the pornography mafia. The ending of the story, however, presents another misconstrual and reversal. It turns out that the mafiosi meant Alex and Lena no harm. They only wanted to make a counter business proposition, keeping it a secret from their boss.

    The two narratives are very different in genre and character, one being a work of hyper realism, another, a postmodern pastiche. What unites them, in my eyes, is their use of city walking. The walks function not just thematically but as a rhetorical device. To show how, I would like first to turn to Michel de Certeau’s Practice of Everyday Life, where he presents his analysis of walking in the city. De Certeau, quite intuitively, points to the similarity between walking and narrativity. Firstly, there is the dynamic component of movement, being caught in “the city’s grasp,” subjected to the gravitational pull of its field and carried along the “magnetic trajectories” of its arteries towards the vanishing points of its strange attractors. Secondly, the city walker does not make a completely free choice of itinerary, but plots it on a pre-existing map. In other words, his trajectory is limited to the existing grid of discreet spaces that are individually identifiable and addressable. De Certeau compares the city, with its house numbers and names of streets, shops, and cafes, to a text. Thus, the itinerant does not flow freely through uncharted space but moves from a specified location to a specified location, making his way through the “thicks and thins of an urban ‘text’” (93). This can be seen as a framework for a very basic, pared down narrative—a movement through a textualized, semiotic space. The pedestrian himself writes this text without being able to read it, according to De Certeau. What he writes is a kind of travel story. In fact, a travel story is a paradigm for all stories, or in his words: “Every story is a travel story—a spatial practice” (115). I think, De Certeau is right in more ways than he intended, as I will show shortly.

    Another important point De Certeau makes is that the narrative of walking is a kind of speech act, a concept we normally do not associate with writing, which we see as an artifact and not a performance. But I think de Certeau is quite correct in seeing walking as a “spatial acting out of the place, which has a rhetorical, “’enunciative’ function”—that of “appropriation of the topographical system on the part of the pedestrian” (97-98). I find the idea of appropriation both evocative and anthropologically accurate, insofar as it agrees with GA’s theory of narrative performativity. In his “Originary Narrative” article, Eric Gans writes that “the minimal criterion of narrative is making the temporality of the sign a model for worldly action.” But, at the same time, the “only action that we can consider ab ovo as equivalently human and significant is precisely that of the emission of the sign itself.” What this implies is that “the story told by originary sign is, in the first place, that of its own emission.” In the most minimal terms, it is the story of how the sign begins by intending an act of appropriation but is derailed into a gesture of designation. While the former exists in the sphere of immanence, the latter belongs to the space of transcendence (insofar as the object, as the new sacred, is no longer within reach). Thus, another way of summarizing the minimal narrative is as a story of “the generation of transcendence from immanence.” This first, fundamental generative act contains within itself the original performative. But as a performative is a “way of doing things with words” (or language), does not the movement from immanence to transcendence occur in the direction from effectual to ineffectual (insofar as immanence represents the acquisitive gesture, and thus a possibility of doing things, while transcendence implies deferral and thus inaction)? Not in the sense that performativity should be understood as a symbolic act—a way of summoning the joint attention of the newly formed linguistic community. The memory of the pre-linguistic act of appropriation is transferred to the act of designation under the guise of ostensive representation. Gans explains that “to designate is to represent, but to represent is to transfer the ‘being’ or ‘essence’ of the physical object to the designatum of the representation, which we may already speak of as its ‘signified.’” Instead of making a lunge for a desirable object in order to take possession of it before our mimetic rival does, we step back and point to it, thus making the originary ostensive sign of calling attention to the cessation of violence. The originary ostensive sign “performs” the conferral to the object of a sacred status, as Gans explains in Originary Thinking.

    In this earlier text, he defines the ostensive as the “originary speech-act” (64). “What is ‘performed’ by the ostensive [in this speech act] is a centering of its referent, that is at the same time a subsumption of it under the category of the significant center” (65). I would like to propose an additional way of glossing this, namely via the idea of differentiation (if we think of differentiation as the creation of a difference in potential). As a visual aid, we can think of the metaphor of a contour map representing a field of forces, with equipotential lines representing surfaces of equal potential. The difference in potential causes the movement of an object in such a force field from a higher to lower potential. The center can be thought of as “potential valley” or a “strange attractor” that creates a gravitational pull from one part of space to another. This pull exerted on a peripheral position by attracting it toward the center corresponds to the performative force of narrative desire. This model of differentiation is what I also associate with Gans’s idea of the scenicity of representation: the separation of the stage from the auditorium constitutes an originary act of differentiation. As much is implied, I believe, by Gans in Originary Thinking, where he gives a different definition of originary narrativity, explaining it as “the coming of divinity” or a story that narrates the divinity’s “approaching presence” (97).

    In other words, the originary narrative contains an inauguration of differentiation via an installing of the sacred center. A non-originary narrative simply wants to tell us a story of successful appropriation (105). Every successful appropriation signifies an act of narrative closure. Every narrative closure performs an act of transferring from the periphery to the center, of attaining the central position. To be more specific, a narrative comes to a stop when the protagonist achieves the goal of his quest or arrives at the moment of expanded knowledge, and thus obtains the culturally central status of a victor or an expert. Of course, the act of acceding to the center is imaginary and unstable because the desire of possessing a central object can only be predicated on its constitutional impossibility. And so a moment of narrative closure is necessarily an illusion that must be succeeded by another illusion, and another… But it creates a temporary narrative teleology, a factor of suspense, to accompany the movement from insignificance to significance, from the periphery to the center. I will return later to the significance of this trajectory from the periphery to the center.

    To go back to walking and de Certeau’s idea of appropriation, we can ask: what does the pedestrian appropriate through his pedestrian “speech act”? One way of metaphorizing this act of appropriation is through the figure of mastery (another metaphor for acceding to centrality). The walker masters the city by learning all there is to know about its ins and outs, it back alleys and short cuts, its alternative itineraries, to name just a few things. As Alex and Lena are being chased by the thugs, who seem to be gaining on them, Alex manages to “find an escape maneuver, a back door, or a communicating passage every single time. To Lena’s surprise, he knew all [Soho’s] ins and outs.” The practical knowledge is a skill that is both of value to an immigrant and one that he can hone to perfection. It might take him many years to master the new language or become savvy about subtle cultural codes, but it takes a fraction of this time to develop expertise in the area of walking knowledge. In fact, it is not uncommon for the natives to become lazy or complacent and gradually limit their walks to streets in their immediate vicinity, and therefore be surprised and impressed by some relative newcomer’s extensive knowledge of the city’s nooks and crannies, its hidden treasures. “I have lived in this area all my life,” one might say, “but I had no idea that this shop or museum or shortcut was here. You, on the other hand, have just come here, and you seem to know everything about the city. You put me to shame.” This is, in fact, true of both protagonists. Eddie Limonov, for example, says about himself: “I am a man of the street. I have to my credit very few people-friends and many friends-streets. They, the streets, see me at all hours of the day and night; I often sit on them, press my buns to their sidewalks, cast my shadow on their walls, prop my elbow or my back against their lampposts. I think they love me because I love them and pay attention to them like nobody else in New York. As a matter of fact, Manhattan ought to put up a monument to me with the following inscription: ‘To Edward Limonov, New York’s number one pedestrian. With love from Manhattan!’” Once, he adds, he covered “more than 300 blocks on foot in one day.” And in a similar vein, Alex calls himself a Columbus of London, a “tyrant king of an empire he discovered.” Each day his empire grows bigger. And the charm of it is that the natives are no threat to the king’s possessions. They exist independently as an organic part of the environment or theatrical backdrop. The threat, on the other hand (surprisingly?), comes from the direction of new Russian visitors and immigrants who have started filing in after the fall of the Iron Curtain. These people are bound to form their own ideas, parcel out his kingdom in their own ways. He fears that they will not recognize his centrality, not give him his due by ignoring his advice, his primacy, and expertise. What was the point then of being the first immigrant, the trailblazer?

    Alex’s fear of gradually losing his coveted status as a pioneer and an expert on the West is indicative of the Third Wave literature’s double perspective from which its protagonists’ subject position is constructed. This notion of double perspective allows me to bridge Michel de Certeau’s speculations, which concern both the actual, physical act of walking, which he compares to a narrative, and imaginary literary narratives about walking. The characters are walking in the city and writing their own narratives within the confines of the literary world. But we are reading their narratives as language and extracting their textual meaning. How can de Certeau’s analysis help us in this task? I believe that the narrativity of walking creates a metanarrative context and lifts narrativity to the thematic level, making us focus on narrativity itself.

    We can look at how Limonov’s protagonist is self-consciously re-constructing his life-narrative as the story of a hero and a revolutionary by leaving behind his earlier identity as a poet. He tells the reader “I have established my poetic fate; whether or not it will last is no longer the issue; it’s done, it exists. In Russia my life is already legend, and now I walk free, empty, and terrible in the Great City, amusing, saving, and distracting myself with its streets, and I seek the encounter that will begin my new fate.” In “A Double-Act in Soho,” a self-consciously postmodern story, references to narrative theory are woven into the text conspicuously and in humorous ways. Thus when Alex, trying to puzzle out reasons behind Lena’s interest in American pornography, asks a shop assistant in one of the shops what is so special about American pornography, the salesman explains that it is more interesting to watch than German pornography. Why, Alex asks. Well, because American pornography tells a story, while German pornography is strictly functional. What do you mean, asks Alex. Don’t you know the difference between the fabula and the syuzhet? asks the salesman. The narrative itself signals transitions and alludes to various recognizable plots with each new turn of events. One moment it’s a quest, the next, an action story, yet the next—a burlesque romp with inverted intertextual references to Mikhail Bulgakov’s Master and Margarita, a satirical Soviet classic.

    This metanarrativity is partly an artifact of the text’s double perspective that both creates and is heightened by their extreme (I would call it performative) self-consciousness. This double perspective derives from the third-wavers’ unique position of having escaped from a country with closed borders. For the Soviet people, the feeling of being completely isolated or permanently cut off from the rest of the world, especially the West, was inversely proportional to the sense of longing they experienced about everything Western—from fashion to music—about which they could only form second-hand ideas. In other words, their desire for the West was predicated on the impossibility of its fulfillment. The fact that a few were expelled or allowed to emigrate in the 1970s was experienced both by those who left and those who stayed as something unprecedented, a one-in-a-lifetime occurrence. Thus everything felt unreal to the new Soviet immigrants in the beginning. As Sergei Dovlatov, another prominent writer and, briefly, a newspaper publisher, expressed this feeling of wonder in one of his editorials shortly after his arrival: “Everyone of us is experiencing a second birth. We can call it a process of adaptation or assimilation. But the meaning is the same—we are born again. . . . We are trying to comprehend the mysterious and incredible America. Amazing things are still happening to us. For example, you are walking along Broadway, thinking your thoughts. And suddenly you stop dead in your tracks . . . My God! Is it me myself walking along Broadway? Could it all be true? This bar, this black man, this shop. Are we really in America?” Coupled to this sense of wonder was the sense of an obligation Russian writers felt in taking upon themselves the seeing and processing of new impressions as envoys or representatives and on behalf of friends and colleagues who stayed behind. In another editorial, Dovlatov cites a letter from a friend (who could have been an aggregate of several people), which says “your emigration is not private matter. . . . You must remember us. We are many, and we are still alive.” Because of the uniqueness of the situation, the Third-Wave writers thus consciously took on a role of becoming the others’ eyes, which gave their writings an added quality of a travelogue. In his article, “The ‘Narrative is Travel’ Metaphor,” Kai Mikkonen makes a convincing case that all modern writing has characteristics typical of travel writing. But this is especially true of Russian Third-Wave narratives. As an example, we can consider Limonov’s city walk narrative, which has a degree of detail, especially in describing things that various stores sell, that would be superfluous in a narrative addressing a Western reader.

    Another instance of double-perspective is the double topography of the narratives, the discernible second layer of the invisible native city, which becomes manifest in flashbacks, moments of recognition, and the ongoing process of “translation”—the new environments and the new experiences are read through the old ones. It’s Me, Eddie has especially many instances of such explicit translations. For example, when Eddie is observing the people in Washington Square, he says to himself that they “are absolutely the same. There are small, purely American differences, the colored tattoos on their skin, for example, and the fact that some of these people, the singers and those standing around them, are black. Nevertheless I recognize in many of them my faraway Kharkov friends, who by now have long since taken to drink. . . . I recognize our unchanging girlfriends, the girls from Tyura’s dacha, Masha and Kokha, except that they are talking between themselves in English. . . . This man here with the black teeth is Yurka Bembel, who was shot in 1962 for raping a minor. . . . And this is the exemplary technology student Fima.”

    Similarly, in the midst of his chase through Soho, Alex, the “Double Act” protagonist, is suddenly transported in his mind to the Moscow of the 1970s. It is the dead of winter, and he is trying to sneak into the Dutch embassy with a heavy suitcase full of his unpublished manuscripts. His heart is pounding as he is imagining that he is followed and that, at any moment, a secret policeman will apprehend him and search his suitcase, containing “anti-Soviet” writings. But, luckily, he is wrong, and his mission is successful. His suitcase is left safely at the Dutch embassy and is returned to him after his escape to the West.

    And finally, and most importantly, the doubleness that interests me is constituted by a convoluted forward-backward perspective of reading and understanding a narrative. Earlier I talked about narrative as a temporal and spatial progression from one point to another. But a simple journey towards a goal does not capture the whole of narrative experience. As Meir Sternberg explains in “Reconceptualizing Narratology,” narrativity emerges out of the interplay between the temporalities of what he calls three narrative interests—those of prospection, retrospection, and recognition (or suspense, curiosity, and surprise). “Suspense arises from rival scenarios about the future.” Curiosity involves manipulation of the past: “knowing that we do not know, we go forward with our mind on the gapped antecedents, trying to . . . bridge . . . them in retrospect.” Finally, in surprise, the narrative “unexpectedly discloses to us our misreading and enforces a corrective rereading in late re-cognition” (48). According to Sternberg, the double perspective of prospective and retrospective orientation is something that is generally true for the way we read all narratives. But in this instance, I would like to transfer Sternberg’s analysis of narrative interests from how we read to how characters read and write their narratives. Namely, I associate the future orientation of prospection with writing, and the backward orientation of retrospection with reading. I am not making a broader claim about the applicability of Sternberg’s analysis to all narratives of city walking or all immigrant narratives. But his observation about the dual temporality of narratives is highly relevant for metanarrative stories, where protagonists are playfully aware of the narrativity of their accounts.

    Narratives of walking foreground different narrative interests. A reading of a goal-oriented walk might coincide with Sternberg’s future-oriented perspective of suspense. Am I really going to find a needed pharmacy in this maze of streets? Are they really going to have my medicine or will my quest be unsuccessful? But one could also meander around the city aimlessly in a mood of curiosity. Asking questions about where this or that alley leads to or what is behind this or that door is done from the perspective of retrospection with respect to the future goal of mental mapping and systematizing. In addition, one could walk around the city in the flâneur-like attitude of openness—observing and being observed, wanting to be seen and surprised, and yearning for all possible kinds of encounters. The narrative of walking self-consciously, being aware of one’s walking, placing oneself on a scene of representation as a character in one’s own story, and so on, makes for a hybrid genre or hybrid narrative structure of writing and reading. This is where writing meets reading. When one walks in this special conscious mode I described above, one creates one’s own written narrative that one tries to read. In other words, one molds one’s destiny. Thus, one could define destiny as a kind of a narrative configuration that involves reading and writing. You read your destiny as it is writing you. (Or, perhaps, conversely: you write your destiny as it is reading you).

    The two protagonists of the novel and the short story are both reading and writing their respective narratives. In “A Double Act,” Alex keeps projecting and revising the narrative he is reading. He first decides that the girl is a Russian tourist who has a penchant for American pornographic videos because in Russia, everything American is seen as glamorous. As Alex continues his pursuit of the girl, he revises his story. He observes the girl greeting a friend and overhears a few phrases they exchange. Based on them, he changes his mind about her. She is probably not a tourist but an illegal immigrant who is earning money by prostitution, and the reason she is interested in American videos is because many of her clients are American. They make each other’s acquaintance after Lena confronts Alex and asks him to explain his stalking. When she introduces herself, she tells him that it was her father who helped her to get this job. Alex first thinks that the father has sold his daughter into prostitution, and re-writes his story about her as an immigrant’s narrative of poverty and survival. Later he understands that the job concerns doing a survey about the percentage of American pornographic films on the London market, and he subsequently rebrands her as someone who has emigrated recently with her parents and is forced to take odd jobs. And eventually, Alex is disappointed to find out that Lena has lived in London as long as himself. This means that his fantasy of becoming her mentor and guide around London will not be realized, and he will have to invent another story for himself. But in the end, as they flee from the mafia, he ends up playing the role of a hero anyway. As he is first guiding Lena around Soho’s shops and later arranges their last minute escapes, his perception of himself is gradually transformed. “Even in the shining of his bald spot, one could detect a certain purposefulness: as if the superfluous hair was blown away by the blustering wind in order not to impede his progress.” Suddenly, he feels decisive, athletic, and courageous—a veritable superman. It is suggested at the end of the story that he and Lena will spend the night. In addition to being a conventional ending of the boy-gets-the-girl type (albeit in a playful, postmodernist way), it also represents a befitting closure for a narrative of destiny. The particular trajectory from the periphery to centrality that this narrative takes represents a providential reclaiming of his identity in a more powerful, more masterful, more central way. Being a writer, even an unofficial, underground writer, in the Soviet Union held a great deal of cultural cachet but is no longer a position of cultural centrality in his present life, and especially not in the eyes of this young and beautiful girl, who would have a greater appreciation for a hero than a literary has-been. But an even deeper reason is that being a writer in the present is a constitutionally peripheral position: as a writer you observe the center but do not occupy it. The act of claiming one’s destiny as a hero, on the other hand, puts one in an unstable and unsustainable position of being the center of one’s own narrative—a position that evacuates one’s consciousness and therefore can only be occupied toward the end of the story.

    In Limonov’s novel, the opposing orientations of writing and reading are figured even more explicitly than in Zinik’s story as components in the reciprocal structure of destiny. Eddie, who calls himself a flâneur, walks for the sake of an encounter. As he walks up and down New York streets and avenues, he asks himself why walking has become a compulsion. “Most of the time I walked as if just for fun, as if it were my heart’s desire to take a stroll, yet in fact my goal was . . . to be honored with an encounter. . . . Whom did I hope to meet? A man? A woman? A friend, or love? Oh, the image I had in mind was very unspecific, but I waited, tremblingly waited.”

    I would like to finish by locating Sternberg’s moment of recognition in the two texts. Again, for Sternberg, this is readerly recognition. This moment has to do with a misunderstanding or misprision, when the reader has misconstrued some elements of plot or narration and is forced to re-map his understanding of the text by shifting paradigms. In the narratives of destiny, this moment of understanding may happen on the part of the character who is reading his own story. And this is something we find both in It’s Me, Eddie and A Double Act in Soho.

    Alex experiences the moment of recognition when his new hero’s self-consciousness is superimposed over the memory of smuggling the suitcase. When his suitcase is returned to him and he rereads his writings, he realizes that he can no longer relate to them. They belong to the past, to the life that is no longer his, and now, even worse, to the country that no longer exists. It strikes him, therefore, that his presence in the past no longer makes sense. He shuts down the suitcase, and with setting aside his writings, he leaves his identity as a Russian writer behind. But the symbolic act of closing the lid of the suitcase creates an emptiness inside him—an emptiness nothing could fill until the moment of holding Lena’s hand. The feeling of her hand in his reminds him of the feeling of the suitcase’s handle. Thus, metonymically, Lena comes to fill the gaping hole left by the redundancy of his writings. Recognizably, “he was again in his right place, in his home, surrounded by enemies and saving friends.”

    Finally, Eddie’s encounter ends up (perhaps predictably) being with himself. Here, once again, the moment of recognition is brought to the surface by the momentum of metonymic sliding. Eddie’s long walk comes to an end by the sculpture of Alice in Wonderland in Central Park. Watching children romping around it, he becomes fascinated by a boy with long hair, who reminds him of himself at the same age. Recalling some of his exploits, he suddenly realizes that he has not changed. All other people around him became grown-ups—dull, careful, complacent. But he remained as he had been as a child—an uncompromising and passionate extremist. “To this day, I am a pilgrim, I have not sold myself.” This is a turning point in the narrative. His realization not only soothes him but functions, as in Zinik’s story, as a pivotal moment that allows him to put his legendary status as an underground Russian poet behind him and emerge a revolutionary. Just as Alex does, Limonov reconfigures himself as a hero of his narrative almost at its point of closure. He leaves the park singing a revolutionary song.

    Works Cited

    Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. Jonathan Mayne. Phaidon Press, 1995.

    Bridgeman, Teresa. “Thinking Ahead: A Cognitive Approach to Prolepsis.” Narrative 13.2 (May, 2005). (125-159).

    de Certeau, Michel. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley, Los Angeles, London: University of California Press, 1984.

    Dovlatov, Sergei. Not Apropos… or Editor’s Columns. Moscow: Makhaon. 2006.

    Gans, Eric. “Originary Narrative.” Anthropoetics III.2 (Fall 1997).

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    Mikkonen, Kai. “The ‘Narrative is Travel’ Metaphor: Between Spatial Sequence and Open Consequence.” Narrative 15.3 (October, 2007). (286-305).

    Sternberg, Meir. “Narrativity: From Objectivist to Functional Paradigm.” Poetics Today 31.3 (Fall, 2010). (507-659).

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    Sternberg, Meir. “Telling in Time (II): Chronology, Teleology, Narrativity.” Poetics Today 13.3 (Autumn, 1992) 463-541.

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    Zinik, Zinovy. Mind the Doors: Long Short Stories. Context Books, 2001.