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David Auerbach on literature, tech, film, etc.

Page 19 of 148

Jacob Burckhardt on Amateurism

Peter Blegvad, “Observed, Imagined, Remembered”

When it comes to scholarship and criticism, I prefer Jacob Burckhardt’s amateur/specialist dichotomy to Isaiah Berlin’s fox and hedgehog:

The word ‘amateur’ owes its evil reputation to the arts. An artist must be a master or nothing, and must dedicate his life to his art, for the arts, of their very nature, demand perfection.

In scholarship, on the other hand, a man can only be a master in one particular field, namely as a specialist, and in some field he should be a specialist. But if he is not to forfeit his capacity for taking a general view, or even his respect for general views, he should be an amateur at as many points as possible, privately at any rate, for the increase of his own knowledge and the enrichment of his possible standpoints. Otherwise he will remain ignorant in any field lying outside his own specialty, and perhaps, as a man, a barbarian.

But the amateur, because he loves things, may, in the course of his life, finds points at which to dig deep.

Jacob Burckhardt, Reflections on History (1868)

He sets a high bar! It’s possible this quote inspired writer/artist/cartoonist/musician Peter Blegvad to call his website Amateur Enterprises.

PB: I don’t deny it. I’ve always had an immature horror of being defined, so that’s part of it too. Would I have made more progress or been more successful if I’d devoted myself to just one form of expression? Who knows? I’m not thus constituted. I’m a dilettante, “polymorphously perverse,” a perpetual amateur. But let us not forget that amateur derives from amor. The miracle is that at fifty-eight years old, I’m still being paid to do things I love doing and no one’s ordering me to change it to fit some target audience.

Peter Blegvad interview with Franklin Bruno

(Blegvad has cited Guy Davenport, who embodies the “amateur” as well as anyone.)

Wayward, Odyssean scholarship opens up pathways that less imaginative specialists will miss. But an academic like Keith Thomas will still see connections simply from a voracious intake of knowledge. The danger is not in professionalism, but in complacency and a blinkered point of view. Burckhardt is opposed to the specialist who, like sociobiologist and race-scientist C.D. Darlington, thinks he’s found the root of all phenomena in a single discipline and method:

A specialised scientist stares down his microscope for 40 years and does very good work. Towards the end of his career he asks himself about the wider meaning of it all. He racks back the focus knob on the microscope, tilts the instrument back, and looks about him through its eyepieces. He stares hard for a time, a marvellous gleam comes into his eyes, and he exclaims, “I understand all!”

Robert M. Young reviewing C. D. Darlington

“The enrichment of possible standpoints” is the crux of it. There’s no real substitute for knowing many things about many things.

Jan Assmann on Auschwitz and Guilt

I don’t study ethics much because there is already such a high bar in reaching a minimal level of human decency, so slicing and dicing moral principles feels like buying a fuzzy sweater for a dead dog. And at any rate I am suspicious of any moral calculus.

I pay more attention to the question of responsibility and guilt–not in the sense of what responsibility should be borne and what guilt should one feel, but what tendencies people have and what tendencies have good and bad effects. That is, regardless of whether someone should feel guilt or not, what mechanisms of guilt and responsibility tend to cause better behavior in the future, without psychological scarring or deep misery?

I have no quick answer to that question. And I worry about the quick applications of those sorts of principles to socio-political problems. I have grave doubts over such things as South Africa’s Truth and Reconciliation program, which to varying extents coerced forgiveness from victims:  “The witness’s refusal to forgive or to support the granting of amnesty thus is met with attempts to convince her that her attitude will harm her country’s rebuilding efforts.” It’s possible it was all for the best, but who can sit easily with this sort of institutionalized ethics?

There is a passage in Jan Assmann’s Religion and Cultural Memory collection that captures this for me as well as anything. Assmann alludes to how every memorial for an atrocity also can serve the dual function of distracting others from atrocities their peoples may have committed–a form of scapegoating.

Auschwitz, the darkest chapter of German history, has long since assumed the dimensions of a “normative past” that must not and cannot be allowed to fall into oblivion under any circumstances because its importance goes well beyond the memories of victims and perpetrators; it has become an instance of unviersalized bonding memory and the founding element of a global secular religion that is concerned with democracy and human dignity. Its commandment is “never again, Auschwitz,” and this means not just that there should never again be victims of a German fascism, but that we–and this “we” includes humanity–wish never again to be perpetrators, fellow travelers, or electors of a regime that tramples on human dignity. If we wish to procure world-wide recognition for these principles, we would do well not to repress what we mean by “Amalek,” that is to say, the essence of all that we must reject if we are to secure a better future. Instead we must publicly take responsibility for it, in solidarity with those sections of mankind for whom Auschwitz has become the normative memory of a guilt incurred.

In such acts of recognition of the suffering caused to others through no fault of theirs we can discern the outlines of a universal form of bonding memory that is committed to certain fundamental norms of human dignity.

Jan Assmann, “What is ‘Cultural Memory’?”

The point here is that by identifying the Germans as those who will bear the normative memory of guilt, a non-German forgets whichever tendencies lay dormant within him- or herself that could permit future atrocities were the circumstances right. The non-German is inoculated against critical and humbling doubts about one’s own self and culture. Assmann asks instead for solidarity with those who brand themselves with the collective guilt of the sins of their forefathers–rather than moral superiority. (Chakira has some related thoughts on Shaul Magid.) In other words, “Never again” is facile if not applied as inclusively as possible.

In drastic contrast, there is the hypostatizing moral certitude of Levinas, who exempts an entire nation from such doubts:

Chaim Grinberg brought together articles by several Israeli authors on the relation between religion and State. Reading these texts, which are above all eye­ witness accounts, one is struck by the ease with which the move from religion to ethics is carried out. We do not get the impression of a morality being added to the dogma, but of a ‘dogma’ that is morality itself…Not that belief in God incites one to justice–it is the institution of that justice.

Justice as the raison d’etre of the State: that is religion. It presupposes the high science of justice. The State of Israel will be religious because of the intelligence of its great books which it is not free to forget. It will be religious through the very action that establishes it as a State. It will be religious or it will not be at all.

Emmanuel Levinas, Difficult Freedom (1963)

This is precisely the attitude Assmann warns against. Identifying justice, religion, and one’s state is tantamount to exempting that state from any such solidarity and any possible collective guilt. Regardless of one’s feelings about Israel (swap any other country into the passage if you wish), this is dangerous bunk.

 

Novalis: Monologue

The excellent piece on Novalis in this week’s TLS quoted a bit of his brilliant Monolog, and it’s short enough I figured I’d just post the whole thing here:

Speaking and writing is a crazy state of affairs really; true conversation is just a game with words. It is amazing, the absurd error people make of imagining they are speaking for the sake of things; no one knows the essential thing about language, that it is concerned only with itself. That is why it is such a marvellous and fruitful mystery – for if someone merely speaks for the sake of speaking, he utters the most splendid, original truths. But if he wants to talk about something definite, the whims of language make him say the most ridiculous false stuff. Hence the hatred that so many serious people have for language. They notice its waywardness, but they do not notice that the babbling they scorn is the infinitely serious side of language. If it were only possible to make people understand that it is the same with language as it is with mathematical formulae – they constitute a world in itself – their play is self-sufficient, they express nothing but their own marvellous nature, and this is the very reason why they are so expressive, why they are the mirror to the strange play of relationships among things. Only their freedom makes them members of nature, only in their free movements does the world-soul express itself and make of them a delicate measure and a ground-plan of things. And so it is with language – the man who has a fine feeling for its tempo, its fingering, its musical spirit, who can hear with his inward ear the fine effects of its inner nature and raises his voice or hand accordingly, he shall surely be a prophet; on the other hand the man who knows how to write truths like this, but lacks a feeling and an ear for language, will find language making a game of him, and will become a mockery to men, as Cassandra was to the Trojans. And though I believe that with these words I have delineated the nature and office of poetry as clearly as I can, all the same I know that no one can understand it, and what I have said is quite foolish because I wanted to say it, and that is no way for poetry to come about. But what if I were compelled to speak? What if this urge to speak were the mark of the inspiration of language, the working of language within me? And my will only wanted to do what I had to do? Could this in the end, without my knowing or believing, be poetry? Could it make a mystery comprehensible to language? If so, would I be a writer by vocation, for after all, a writer is only someone inspired by language?

Novalis, “Monologue” (1798), tr. Joyce Crick

This, together with Kleist’s “On the Gradual Production of Thoughts Whilst Speaking”, make the deconstructionists seem rather late to their own game.

The artistic complement to Novalis here is Paul Klee, whose drawings inspired by The Novices of Sais capture some of what Novalis is saying. This one is called “Demony”:

The Turin Horse

BERNHARD: Because everything’s in ruins. Everything’s been degraded, but I could say that they’ve ruined and degraded everything. Because this is not some kind of cataclysm, coming about with so-called innocent human aid. On the contrary, it’s about man’s own judgement, his own judgement over his own self, which of course God has a hand in, or dare I say takes part in. And whatever he takes part in is the most ghastly creation that you can imagine. Because, you see, the world has been debased. So it doesn’t matter what I say, because everything has been debased that they’ve acquired. and since they’ve acquired everything in a sneaky, underhand fight, they’ve debased everything. Because whatever they touch-and they touch everything-they’ve debased. This is the way it was until the final victory. Until the trimphant end. Acquire, debase, debase, acquire. Or I can put it differently if you like. To touch, debase and thereby acquire, or touch, acquire and thereby debase. It’s been going on like this for centuries, on, on and on. This and only this, sometimes on the sly, sometimes rudely, sometimes gently, sometimes brutally, but it has been going on and on. Yet only in one way, like a rat attack from ambush. Becouse for this perfect victory, it was also essential that the other side, everything that’s excellent, great in some way and noble, should not engage in any kind of fight. There shouldn’t be any kind of struggle, just the sudden disappearance of one side, meaning the disappearance of the excellent, the great, the noble. So that by now these winning winners who attack from ambush rule earth, and there isn’t a single tiny nook where one can hide something from them, because everything they can lay their hands on is theirs. Even things we think they can’t reach – but they do reach – are also theirs. Because the sky is already theirs and all our dreams. Theirs is the moment, nature, infinite silence. Even immortality is theirs, you understand? Everything, everything is lost forever! And those many noble, great and excellent just stood there, if I can put it that way. They stopped at this point, and had to understand, and had to accept, that there is neither god nor gods. And the excellent, the great and the noble had to understand and accept this right from the beginning. But of course, they were quite incapable of understanding it. They believed it and accepted it but they didn’t understand it. They just stood there, bewildered, but not resigned, until something – that spark from the brain – finally enlightened them. And all at once they realized, that there is neither god nor gods. All at once they saw that there is neither good nor bad. Then they saw and understood that if this was so, then they themselves do not exist either! You see, I reckon this may have been the moment when we can say that they were extinguished, they burnt out. Extinguished and burnt out like the fire left to smoulder in the meadow. One was a constant loser, the other was the constant winner. Defeat, victory, defeat, victory, and one day – here in the neighbourhood – I had to realize, and I did realize, that I was mistaken, I was truly mistaken when I thought that there has never been and could never be any kind of change here on earth. Because, believe me, I know now that this change has indeed taken place.

OHLSDORFER: Come off it, that’s rubbish.

The Turin Horse

Yes, they really did give him the name Bernhard. He even looks a bit like Thomas Bernhard. Perhaps his words are to not to be taken as the thoughts of Bela Tarr or Laszlo Krasznahorkai.

Cargo 200: Blurred Spaces

Russian director Aleksey Balabanov is a fascinating and discomfiting filmmaker, responsible for one of the very few successful Kafka adaptations, The Castle, to which Balabanov boldly appended his own ending. Technically brilliant, Balabanov is generally enigmatic about what he is doing and how he does it. I took a look at his extremely unnerving Cargo 200, a loose adaptation of Faulkner’s Sanctuary, to try to figure it out.

 

CARGO 200: BLURRED SPACES

Something awful is going to happen to the girl. This is the Soviet Union in 1984. This is not a nice time, and these are not nice people. The veneer of civilization, this professor of atheism, this friendly colonel, these dancing teens: they are all part of a paper-thin mask. Director Aleksey Balabanov will pull it off soon enough. This is Balabanov and he is dark.

The movie is beautiful. Everything is dilapidated and falling apart, but there’s still a deep palette and the geometry of the scenes is proportionate. There is a neo-classicism here, a desire to recreate aspects of the past without subverting them. Overlaying that is the horror, as though immaculate Greek sculptures were made to violate each other and commit heinous acts. Craft is being deployed orthogonally to content.

The horror is not happening yet, though. Things are calm. The movie goes on, and people are suspicious, and still the horror does not start.

This is an American story. Balabanov took the plot from William Faulkner’s Sanctuary, though Balabanov claims it’s a true story. In that ugly novel the young girl fell in with motley bootleggers and was kidnapped and raped by a sociopath named Popeye. The plot is still here. But Cargo 200 is slower than Sanctuary. And everything feels different. It lacks the sordid atmosphere of Sanctuary. This is not the South. This is not anarchy and lawlessness. This is dread, absurdity, oppression, and war. This is not Mississippi in 1929, it is the Soviet Union in 1984.

The government is everywhere. But what is the government? Andropov is dead. The Soviet Union is at war in Afghanistan. Soldiers are coming back home in boxes. The code for these coffins is “Cargo 200.”

[continued at Quarterly Conversation]

 

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