Prophecy And Propaganda As Compensatory Fantasy

In a footnote in his chapter on Herder in Three Critics of The Enlightenment: Vico, Hamann, Herder (Princeton University Press, Princeton, 2000, p. 231), Isaiah Berlin writes:

Like other passionate propagandists, Herder pleaded for that which he himself conspicuously lacked. As sometimes happens, what the prophet saw  before him was a great compensatory fantasy. The vision of the unity of the human personality and its integration into the social organism by ‘natural’ means was the polar opposite of Herder’s own character and conduct….It has frequently been remarked that it is tormented and unbalanced personalities–Rousseau, Nietzsche, D. H. Lawrence–who celebrate with particular passion physical beauty, strength, generosity, spontaneity, above all unbroken unity, harmony and serenity, qualities for which they had an insatiable craving.

Great artists (writers) are very often ‘passionate propagandists’ and ‘prophets,’ and Berlin is right to note that their creative urges often manifest themselves in their theorizing–by the creation of alternative worlds that are decked out in the colors they find lacking in the ones they currently inhabit.

The prophet in particular, sustains his vision of the world he has seen by underwriting it with his own desires and imaginings; the world he describes is the world he would like realized; it is visible to him because  his longings make it come alive. The more acutely sensed the absence of a particular quality in the present world, the more vividly is its presence articulated in the dreamed of world, the more unambiguous the revelation. Berlin does not mention Freud here, but he might well have by his invocation of a ‘compensatory fantasy.’ The prophet’s visions and revelations are wish fulfillments; they make concrete, in relatively unambiguous form, his hitherto unconscious (or not) fantasies and desires and longings.

The propagandist, similarly, finds his pen and prose animated by these as yet unrequited longings; they bring his polemics to life; they make them stir and summon others to action. The successful propagandist is able to enlist and recruit others to help realize his desired for vision; the success of this task depends on how successfully he is able to transmute the force of his need into the clarity and beauty of his depiction of the desired state. Through his claims he can create a need where none had existed before; he is able to convince his ‘followers’ that his needs are theirs now; the desired for world is one whose absence they sense in their own lives.

Our theoretical frameworks are not just autobiographies, as Nietzsche had suggested, they are also fantasies of the way we would like the world to be. What we find lacking in our lives, we find instead in the theoretical claims we make, in the arguments we adduce in their favor. When we defend our theories and our arguments, we are not engaging in idle academic speculation (or should not be); we are (or should be) engaged in attempting to bring to life a hoped-for world whose presence we can dimly sense in thought and dream and fantasy.

Freud As Writing Stylist And Pedagogy Instructor

In Freud, Jews and Other Germans: Master and Victims in Modernist Culture¹(Oxford University Press, New York, 1978), Peter Gay writes:

All of Freud’s biographers devote an obligatory page to the efficiency and beauty of his prose–not without reason. Freud’s stylistic achievement is all the more remarkable considering the spectrum of his publications…Freud’s case published case histories–a genre that normally repels grace or wit–are classics in the literature of detection. Freud was a born writer who never neglected the essentials of his craft….his earliest surviving letters demonstrate that his energy, wit, and lucidity were not painfully acquired but were part of his character….He disciplined his ear by reading French and English all his life…He read continuously and intensely…Freud could derive instruction even from the laborious syntax and rebarbative vocabulary of academic writers; he learned what to avoid. But his real teachers were stylists who were enemies of obscurity and strangers to jargon….he highly valued, and rapidly absorbed, the qualities that distinguished other favorite authors: vigor, precision, clarity. [pp. 50-51]

Gay, of course, read Freud in the original German, so he knows better than I of what he speaks, but even I, who have only ever read Freud in translation,² via the usual Standard Edition route, have not been left unaffected by Freud’s limpid writing style. The Good Doctor is a pleasure to read; I unhesitatingly assigned large tracts of primary texts to students in my Freud and Psychoanalysis class a few years ago, telling them that while the material was ‘dense,’ it was clear and would reward close attention. The case histories–of, for instance, Dora, or the Rat Man–I recommended as short stories of a kind; they are literary in every way, and draw us all too quickly into their artfully constructed worlds. His later ‘cultural-literary-anthropological’ speculative essays are masterworks of erudition expressed with grace and style; they can be profitably read by any intelligent person.

My mention of teaching Freud brings me to Freud’s special qualities of exposition. (His Introductory Lectures on Psycho-Analysis is a widely acknowledged masterpiece of the genre and still provides the best entry point to psychoanalytic theory.) Gay makes note of his talents in this domain and thus provides direction for not just writers but teachers in the classroom too:

He kept [‘the mode of discussion’] intact by employing devices that have been, the envy of professional writers: informality, surprise, variations in pace, adroit admissions of incomplete knowledge, patient handling of knowledge, and a seemingly inexhaustible supply of telling metaphors. [p.55]

Indeed. When I look back at any successful classroom teaching–or academic conference presentation–these devices have always played a crucial role. They forestall boredom and stultification; they invite interactive inquiry; they provoke creative responses. We should all be so lucky to have our writing and reading and conversation informed and infected by ‘surprise,’ ‘variations in pace,’ and an ‘inexhaustible supply of telling metaphors.’ The world springs into sharper focus and becomes anew; what more could we want from our learning and teaching?

Lastly, Gay is a masterful writer himself.

Note #1: For some bizarre reason, the title of Gay’s book is missing an Oxford comma.

Note: #2: Here are a series of posts on the wonders of translations.


Philosophy, ‘Pseudo-Philosophy’, And Claiming To Be Philosophy

In his foreword to Jacques Bouveresse‘s Wittgenstein Reads Freud: The Myth of the Unconscious (Princeton University Press, 1996, New French Thought Series), Vincent Descombes writes:

[S]cience alone is opposed by a counterfeit called ‘pseudo-science.’ ‘Pseudo-philosophy’ does not seem to be a term we can use, much as we might be tempted to when dealing with what we think is bad philosophy. But philosophical speculation is such that everything that claims to be philosophy is philosophy. The price of this unlimited tolerance is that bad philosophy is as philosophical as good philosophy.

Descombes might be right that the term ‘pseudo-philosophy’ is not bandied about as much as ‘pseudo-science’ is, but there is certainly no shortage of attempts to characterize ‘what’ philosophy is, so that pretenders to the throne may be disabused of their pretensions. The pejorative description ‘that’s not really philosophy’, or ‘you aren’t doing philosophy’, and the skeptical question, ‘how is this philosophy’ are not unheard of; there is, supposedly, like science, a particular valorized method, a distinct ‘philosophical style’ of writing, analysis, and communication. The anxieties visible here are, I think, quite as acute as those visible in science’s defense of its domain.

But what is the nature of ‘philosophical speculation’? We know one part of the answer that is provided to us by those who man the ramparts: a concern with ‘getting things right’, ‘seeing how things hang together in the right way’, ‘seeking the truth’, ‘framing good arguments that bring us closer to the truth’, ‘asking the right questions’, and so on. But if Descombes is right, these are all too restrictive, for all claimants are granted access to this privileged space; the correct distinctions to be made are about the quality and nature of the philosophizing on display, and not about whether an act of thinking qualifies as philosophical in the first place.

Descombes’ catholic attitude is grounded in an acknowledgment of the inability of philosophizing to limit itself, for these boundary policing acts are grounded in philosophical maneuvers and that which requires such an engagement must be philosophical in some shape or form. The act of claiming to be–or not–philosophy is a philosophical claim, and must be dealt with as such. This is why philosophy remains indispensable to science, for instance, even when its practitioners reject philosophical influence or provenance.

More broadly, it would be surprising indeed if philosophy could so limit itself, if it could so easily set constraints on its ambitions and so clearly know what its possibilities are that it would ever possess the means to reject putative entrants to its domain. Such an activity would not be philosophy but some other, more specialized, and restricted activity, one which has, from the outset, set its sights much lower.

Note: Descombes goes on to say:

Wittgenstein might say that bad philosophy is even more philosophical than good: not more philosophical in the sense of more profound or more solid, but rather in the sense of of more representative of of the characteristic temptations of philosophy, such as wrongly generalizing from a privileged example, or confusing the particularities of a mode of expression with the higher laws of being.

The Fall Of Norman (And Norma) Bates

We know the story of Norman Bates:

Norman had been excessively dominated by his mother since childhood, and when she took a lover, he became insanely jealous that she had “replaced” him, then murdered his mother and her lover. Later, he developed a split personality to erase the crime of matricide from his memory and “immortalize” his mother by stealing and “preserving” her corpse. When he feels any sexual attraction towards someone, as was the case with Marion [Crane], the “Mother” side of his mind becomes jealous and enraged. At times, he is able to function as Norman but other times, the “Mother” personality completely dominates him….Norman, in his “Mother” state, had killed two missing girls prior to Marion [Crane].

Sometimes you can know the ending, and not worry about spoilers. This is certainly the case when watching Bates Motel–the television series which supplies a prequel to Psycho. We are well aware we are about to view the descent into madness, into full-blown psychosis, of a young man who, well before we came to know him as a cross-dressing, knife-wielding, homicidal maniac, was a sweet and shy young man. This knowledge, this dissipation of suspense, does not diminish the tragedy unfolding before us; it makes it all the more tragic because we see the characters inexorably moving toward their pre-determined fates. (This fact, this eventual degradation and decline, one in part caused by the psychological trauma our personal relationships can inflict on us, makes for difficult watching at times; I suspect some of my sensitivities are particularly acute because I’m a parent now.)

Bates Motel is not an ordinary prequel; it is a reboot, for it displaces the original Psycho in both space and time (from California to Oregon, and from the 1960s to the present era). But by retaining its central characters and pathologies, it ensures it does not stray too far from the original’s creepiness. And indeed, it might be that it supplies what was always the most intriguing and understated aspect of the original, one only touched upon briefly in its resolution: How did Norman become Norman? What was his relationship with his mother like? Who was his mother? What was she like?

Psycho is sometimes described as the first psychoanalytical thriller; fittingly, Bates Motel‘s primary virtue is that it enables an archaeology of its story. It fills out and makes available for inspection, the contours of Norman and Norma’s pre-history; it tells the story that Norman might have recounted on a therapist’s couch. Bates Motel clearly considers the task of supplying a full-blown causal story to account for Norman’s psychosis a task that is lies beyond its competence, for its writers assume some pre-existent pathology, but even then, we are promised some development and ‘progression’–hopefully, an artful blend of responses to both innate dysfunction and environmental abuse.

Bates Motel can only end with Marion Crane’s car pulling into the parking-lot. In this series at least, we know what the finale will be; we can now get back to clucking over the details that get us there.

Teaching Wittgenstein And Making The Familiar Unfamiliar

I’m teaching Wittgenstein this semester–for the first time ever–to my Twentieth-Century Philosophy class. My syllabus requires my students to read two long excerpts from the Tractatus Logico-Philosophicus and Philosophical Investigations; bizarrely enough, in my original version of that exalted contract with my students, I had allotted one class meeting to a discussion of the section from the Tractatus. Three classes later, we are still not done; as you can tell, it has been an interesting challenge thus far.

The style of the Tractatus is notorious for the difficulties it can create for the unprepared. Many students find it its terseness, its statement in quasi-mathematical form as a series of seeming definitions, lemmas, theorems and corollaries–as part of a presentation of a grand total of seven propositions–off-putting and abstruse. Yet others find in it a curious beauty, a poetic statement, stark and austere, pregnant with meaning and suggestion. The content of the Tractatus can be forbidding too. Many philosophical doctrines–the picture theory of language, the truth-functional account of propositions, logical atomism and the correspondence theory of truth, the verification theory of meaning, the ‘no-sense’ theory of ethical and emotive statements–may be found here, varying in their level of implicit or explicit statement. A special vocabulary is employed, and the meanings of many of the special terms of art employed–‘facts’ for instance–has to be unpacked carefully.

I have read Wittgenstein before, and indeed, did my dissertation with a logician, Rohit Parikh, who doubled as a Wittgenstein scholar. (This excellent paper by Juliet Floyd explores the several dimensions of his appropriation of Wittgensteinian themes in his work.) For several years during graduate school I attended a discussion and reading group, conducted by Parikh, which often veered off into conversations on Wittgensteinian themes. Years after I completed my dissertation, I realized that many of its fundamental presuppositions and descriptions bore a similar stamp. But, I never taught Wittgenstein.

Now I have. And so, yet again, I’ve been reminded of how radically different my relationship to a philosophical text or doctrine becomes once I’ve had occasion to teach the material. I read differently; I critique differently, trying to anticipate the ambiguities my students might encounter; I notice more in the text, I seize on more. And then, in the classroom, as I work directly through the reading with my students my relationship with it changes yet again.

Sometimes, my teaching has consisted of making a few opening statements, previewing the theories and theses to be presented, and then turning to the text to find their statements within. I invite students to point me to particular propositions that they have found thought-provoking and/or difficult. At times, I have read aloud sections in class, stopping to offer and receive–along with the class–explications and exegesis. I’ve used the ‘reading-aloud-in-class’ method before; in that case, for Leibniz and Kant. What I wrote then about that particular method of approaching a philosophical text still holds:

First, more careful exegesis becomes possible, and little subtle shadings of meaning which could be brushed over in a high-level synoptic discussion are noticed and paid attention to (by both myself and my students). Second, students become aware that reading the text closely pays dividends; when one sentence in the text becomes the topic of an involved discussion, they become aware of how pregnant with meanings these texts can be. Third, the literary quality of the writing, (more evident in Leibniz and Freud than in Kant) becomes more visible; I often stop and flag portions of the text as having been particularly well-expressed or framed. The students become aware that these arguments can be evaluated in more than one dimension: analytical and artistic perhaps.

This method is exhausting, and that is an understatement. There is the obvious physical strain, of course, but doing this kind of close reading is also intellectually taxing. There is more to explain, more to place in context.

Now, with Wittgenstein and Tractatus, I am struck again, by how the seemingly familiar takes on a little of its older novelty.

Shame, Rage, and Fascism

Jonathan Lear, in the course of a memorial address to the American Philosophical Association–dedicated to Bernard Williams–noted:

For Williams, shame needs to be conceived in terms of its inner psychological structure, in particular, in terms of internal objects and our relations with those objects. The basic experience connected with shame is of being seen in some kind of bad condition by an observer whose judgment matters. But: ‘Even if shame and its motivations always involve in some way or another the idea of the gaze of another, it is important that for many of its operations the imagined gaze of an imagined other will do’. This is what is involved in shame’s being an internalized emotional capacity, not merely an occurrent emotion in childhood in embarrassing circumstances.

Now, if shame is to function as a complex psychological phenomenon and if it is partially constituted by the imagined gaze of an internalized other, then we will have to admit that this internalized other is, to a significant degree, operating unconsciously. For we need to account for more than the relatively simple phenomenon of consciously experienced feelings of embarrassment before the consciously imagined gaze. In particular, we want to account for experiences that we take to be shame-filled, though they are not consciously experienced as such.

From there on, Lear is off and running, as part of his establishing that:

Williams’ approach to ethical life requires that we turn to human psychology; and the form of psychology required will have to be of a broadly psychoanalytic bent.

The unconscious operations of shame, of course, are of especial interest to therapists and their clients because of their peculiar and particular phenomenological manifestation: feelings of shame are visceral, tinged with a sense of abject humiliation, which, if not allowed to find expedited expression, may be directed outwards in ways intensely damaging to not just the subject but to those around him. Shame is intensively corrosive.

So shame and rage often go together. No one, it seems, is quite as angry, violent, or  murderous as the shamed one. When those feelings congeal into the  basis for a political ideology, they can become more broadly dangerous.

Fascism thus begs for psychoanalytic investigation; some of its central claims–like those of an imagined glorious past, lost to the machinations of a devious Other–rely on the creation of a social and political superego that instills shame in its adherents. The world becomes a stage populated by reminders and monuments of this humiliating defeat, grinning and leering from every corner. The associated shame is relentless in its invidious presence; the only escape from its sensations is a removal of those objects–humans included–that offend. Mere removal will not do, of course. The sensations of shame might only be assuaged by violent, destructive actions.  These become even more frenzied when it is realized that, shamefully, the Other was never a worthy opponent, never one that should have been victorious. The more this inferiority is emphasized, the greater the shame, the greater the rage.

It’s not just ethical life that requires a moral psychology with a psychoanalytic bent; so does politics.

Michael Ondaatje, Divisadero and the ‘Hidden Presence of Others’

Michael Ondaatje‘s Divisadero is a wise book, elliptical and allusive in his distinctive style, one replaying close, attentive reading to its many lovely, lyrical lines, too many to excerpt and note. Here is one that hones in on a truth already known to those who create:

Everything is biographical…What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border that we cross.

Not only are our creations the result of borrowings, imitations, outright thefts, our writings voice-overs of once-read texts, but we ourselves are composites and mosaics. We bear the impress of our encounters, the mark of those we meet; every lover, every friend, every enemy, every parent, every sibling, every teacher, leaves their stamp. Read a writer, you read everything he’s read; talk to a human, you talk to humanity.  We present a distinctive take on our encounters and our histories; we digest and assimilate and repackage–to get all industrial, just for a bit–all our inputs.  But peek around the corner of the persona presented to you and you see a long trail, stretching off into the distance, populated by people and events and markers of many kinds, literary, cultural, artistic, and sometimes even traumatic.

Sometimes these histories of ours are clearly visible; sometimes we carry them around on our sleeves, available for all to see; sometimes the scars are visible and worn with pride. But sometimes we are puzzled by the presence, within us, of something whose provenance seems mysterious. So we attempt to excavate: sometimes by writing, sometimes by looking for the nearest couch and an interpreter with a notepad.

We imagine ourselves self-made, creators of these living, walking works of art we embody. We are that to be sure. But we are aided and abetted by collaborators; those who, with their chisels, put in a touch or two here or there, or with their brushes, added a dab here, a flourish there. So there is accretion aplenty on us; layers and layers of deposited sediment, pushing down on those that came before, compressing and morphing them with their own distinctive pressures.

The texts we embody are not just read by many, they are written by many. And that couch and the interpreter can help us read it when we are confused by its contours, its plot developments; we might need a translation manual, a decrypting key. We imagine we are familiar to ourselves but precisely because of our complex histories, we might become unrecognizable in just that zone of presumed knowledge.

And thus this strangeness can be pleasurable too; we can surprise ourselves, find novelty in that which we imagined contemptuously familiar. Perhaps that is why we push ourselves into encounters with the novel, trusting that in our responses to it, we might find something else about our perfectly strange selves.