Some philosophy links (February)

Chad Hansen's new MOOC 'Humanity and Nature in Chinese Thought'.

'Stanford scholar explores Arabic obsession with language....Key also found that the early scholars benefited from a holistic perspective. The ancients lacked the modern methodological divide between arts and sciences, and so were able to see language as a cognitive function shared between poetry and logic.'

In Our Time - Melvyn Bragg talks with Simon Blackburn, Jennifer Hornsby, and Crispin Wright about truth. and with Simon Glendinning, Joanna Hodge, and Stephen Mulhall about phenomenology.

Julie Allard on 'Ronald Dworkin: Law as Novel Writing'.

A collection of new papers on Jaegwon Kim will be available this month from Cambridge University Press.

Harald Sack on Pierre Gassendi.

Gary Saul Morson: 'On Toulmin, Tolstoy, & the Dawkinsization of the humanities'.

Steven Shapin: 'The new scientism, for all its claims that there is a way science can make you good, shares one crucial sensibility with its opponents: having secularized nature, and sharing in the vocational circumstances of late modern science, the proponents of the new scientism can make no plausible claims to moral superiority, nor even moral specialness.'

Richard Zach on 'Carnap on "Syntax" vs. "Semantics"'.

Elucidations podcasts: from October,  Episode 64: James Conant and Jay Elliott discuss the analytic tradition; and from December, Episode 66: Haim Gaifman discusses mathematical reasoning.

Krista Tippett interviews Paul Elie, Jean Bethke Elshtain, and Robin Lovin discuss Reinhold Niebuhr's legacy. Audio recordings of some of Niebuhr's sermons and lectures.

At Philosophy Bites, Christine Korsgaard on the status of animals.

'Ethics and Aesthetics are One: The Earnestness of High Modernism in Wittgenstein and Musil' by Genese Grill.

At Philosophers Zone, Joe Gelonesi talks to David Papineau about consciousness and the brain.

Nicholas Maxwell on 'what philosophy ought to do'.

Colin Strang's obituary.

Winthrop Pickard Bell: 'Husserl asked his Canadian student to write his dissertation on Royce, and when completed he praised it. ... [Bell] received his degree in 1922. Bell was the first teacher of phenomenology at Harvard from 1922-1927; his students included Dorion Cairns and Charles Hartshorne.' More about Bell:

During the fall of 1921 [Bell] returned to academia and taught philosophy at the University of Toronto and within the same time frame made an application to have his doctorate from Göttingen University re-instated. The formal doctorate was finally issued to Dr. Bell in May of 1922. His tenure in Toronto was to be short-lived and he resigned after the spring semester. In the fall of 1922 he took up teaching in the philosophy department at Harvard University.

Rebecca Suter reviews Matthew Strecher's The Forbidden Worlds of Haruki Murakami:  'According to Strecher, the metaphysical realm in Murakami’s work is the place where individual subjects are able to connect to their “inner narrative,” get in touch with their innermost feelings and (re)construct a worldview that is closer to their true self than the false myths or “collective narratives” produced by society.'

Ernst Theodor Amadeus Hoffmann, a student of Kant's -- well, he attended some of Kant's lectures -- wrote some early science fiction tales. Michael Hauskeller has a blog post on Hoffmann's tale 'Sandman'. Another blog post about 'Sandman'. In his chapter of Wiley's Companion to Science Fiction, 'The Origins of Science Fiction', George Slusser devotes a section to Hoffmann's 'Sandman'.

January philosophy links

Eric Banks interviewed about his new book The Realistic Empiricism of Mach, James, and Russell: Neutral Monism Reconceived. Banks wrote an earlier book called Ernst Mach's World Elements.

Thomas Dixon on the history of the term 'altruism' (in a series called 'Philosophical Keywords'). In giving the rationale for this new blog project, Dixon mentions 'Samuel Taylor Coleridge’s view, expressed in the latter’s Aids to Reflection (1825), that there were cases when "more knowledge of more value may be conveyed by the history of a word than by the history of a campaign".’

Seyla Benhabib on the Charlie Hebdo massacres.

At Siris, 'the Key to Mill's Utilitarianism'.

David Auerbach's 4th post on Simmel's Philosophy of Money.

Duncan Richter has a couple of new drafts (developed from blog posts) on Winch, Wittgenstein, and religious experience.

Isabelle Kalinowski on 'Max Weber and Capitalism's Strange Reality'.

'Cassirer on Enlightenment in the Encyclopedia of the Social Sciences (Part 2)'.

More about Putin's philosopher, Ivan Ilyin.

Eric Voegelin at 114.

Musical interlude:


'The story of historian Natalie Zemon Davis, as she tells it, is largely one about the benefits that have accrued to an outsider'.

Elucidations podcast of Sally Sedgwick on Hegel and Kant.

Rebuilding a positivist church in Brazil:

The positivist ritual consists of classical music, readings from Comte’s works, debate and invocations to the Supreme Being. It was conducted weekly until one night in 2009 when the roof, its wooden beams weakened by Brazil’s notorious tropical termites, suddenly caved in.

In E. T. A. Hoffmann's 'Master Flea', Peregrinus (aka Mr. Peregrine Tyss) uses 'a microscope that allows him to observe people’s thoughts from the motion of their physical brain and nerves', thereby anticipating Herbert Feigl's autocerebroscope (elaborated upon by Paul E. Meehl). Hoffmann's 'Automata' (pdf) made io9's short list for the Victorian Hugos (1886, the year of its English translation).  Here's Hoffmann's 'Sandman'. At Gutenberg.

'Take me then as a sort of reflective and experienced carp; but do not estimate the justice of my ideas by my facial expression.' In 'Shadows of the Coming Race' (1879) by George Eliot, we're outwitted and displaced by self-reproducing, mechanical zombies. Eliot's reflections were prompted by T. H. Huxley's 'On the Hypothesis that Animals Are Automata'.

Here's a neat old book, Contemporary Thought in France, in which Félix de Dantec (one of the early users of 'scientisme') is said to have adopted Huxley's epiphenomenalism. The book was written by Isaac Benrubi and translated from the German by Ernest B. Dicker in 1926 (the year of its initial publication).

Parts 1 and 2 of 'C. S. Lewis and the Inklings' on CBC Radio.

Harald Sack on 'Alfred Tarski and the Undefinability of Truth'.

Logicians in fiction:

Laura Mae Isaacman interviews Yannick Grannec about Grannec's The Goddess of Small Victories, 'a fictional story that re-imagines the life of mathematician Kurt Gödel and his wife Adele'.

Re. Richard Montague: Sacha Arnold on echoes of Montague in Samuel Delany's pornutopic Mad Man and in Aifric Campbell's Semantics of Murder.

Bertrand Russell was a basis for Scogan, an unflattering character in Aldous Huxley's Crome Yellow. Russell was also a model for Sir Joshua Malleson in D. H. Lawrence's Women in Love, for Thornton Tyrell in Siegfried Sassoon's Memoirs of an Infantry Officer, and for Mr. Apollinax in a poem by T. S. Eliot. Bruce Duffy's The World as I Found It is about Russell, Wittgenstein, and G. E. Moore.

Some philosophy, lit, and art links

Here's an interesting new-ish journal, nonsite.org, the focus of which seems to be on issues straddling the boundary between philosophy and literary studies. Issue 3 of nonsite has some articles on Wittgenstein. Issue 4 includes Gary Hagberg's reply to 'Wittgenstein on the Face of a Work of Art', which was in Issue 3.

Robert Pasnau has a nice article on 'The Islamic Scholar Who Gave Us Modern Philosophy', Averroës.

From an interview with George Steiner: 'My multilinguism enabled me to teach, and to write After Babel: Aspects of Language and Translation, and to feel at home everywhere. Every language is an open window on the world. This is in contrast to the grim attachment to roots advocated by someone like Maurice Barrès. Trees have roots; I have legs.'

While poking around looking for on-line stuff by or about Kleist for the previous post, I found this long reflection on Freud's development of the notion of the uncanny by reference to E. T. A. Hoffmann's 'The Sandman'.

Daniel Johnson reviews a book about  'the Jewish Haute Bourgeoisie of Vienna 1800–1938'.

Miranda Seymour reviews a biography of Stefan Zweig.

I first heard of Karl Wilhelm Diefenbach when I was doing some research on Gusto Gräser. I didn't realize, though, that Diefenbach was even more of a wild-man-with-a-prophet's-beard than Gräser was. Strange Flowers has a post on Diefenbach with some neat pics. In the slide show at the bottom of that Diefenbach post, one of the photos shows Diefenbach and several other proto-hippies with flowers in their hair.

Here's the ultimate site for Samuel Johnson's dictionary. 'Pudding: ... A kind of food very variously compounded, but generally made of meal, milk, and eggs.'

Richard Marshall reviews Stephen Barber's Walls of Berlin.

Cool but creepy photos by Stephen Berkman.

Joan Didion interviewed at the NY Public Library by Sloane Crosley:
 

Reflections on Der Schimmelreiter by Theodor Storm

I just read Denis Jackson's nice translation of Theodor Storm's Der Schimmelreiter (first published in 1888). For more about Storm, I recommend Jackson's great site about the author.

Storm’s novella contrasts two ways of responding to nature: there are the fanciful legends and superstitions of the community, and there is the more modern scientific and technological deployment of reason exemplified by the protagonist, Hauke Haien.

The story of Hauke’s life is told to a traveler by an old teacher, a ‘rationalist’ who doubts the supernatural elements of the tale. The teacher depicts Hauke as a great innovator whose engineering prowess gave him superior powers over nature, enabling him to design a better dyke to protect the community. The people repay Hauke with dark suspicion and rumors of his diabolical affiliation.

In the teacher's retelling of the story, the supposedly supernatural elements appear only ambiguously. So, e.g., there is a seemingly spectral horse, which is sold to Hauke by someone who laughs like ‘the devil’ (p. 72). But nothing much comes of this – the horse functions in the rest of the story like a natural though somewhat wild horse, one that only Hauke can tame (just as Hauke alone can tame the wild sea with better dykes). Then there's Trin Jans, who is presented not as a real witch but rather as ... well, as the sort of character who's a witch in more fanciful legends. There's also the suggestion that Hauke is cursed because he killed her cat (the cat came back, as it were). Thus, while the old teacher is aware of the supernatural aspects of the tale, he reigns them in to make them fit into a naturalistic interpretation.

The resulting narrative is in places quite eerie. Examples include the narrator's partly anthropomorphic characterization of some birds on the tidal flats (pgs. 22 & 99) and Trin Jans' uncanny story about a mermaid, which actually makes the mermaid seem terrifying, like something more and less than human (p. 98). In both cases the author embeds fragmentary human traits in what are ultimately strange, alien creatures that, like nature itself, efface humanity with a chilly indifference.

More generally, the tale charts a mundane landscape suffused with potentially supernatural elements that appear fleetingly in ambiguous forms, never quite surfacing as truly supernatural phenomena but, instead, appearing to be at home in the confines of nature. There is thus an ongoing juxtaposition of the world as (on the one hand) a natural order that fits the technical-scientific templates of reason and (on the other hand) a chaotic abyss from which wild, non-rational forces periodically erupt with cataclysmic effect.

These unpredictable natural forces find their echo within the human psyche. Hauke Haien, a paragon of reason, isn't alert to these destructive elements in his own soul, and so he's unaware of how they have eroded his own foundations over the years. Eventually, they catch him totally unawares, welling up from within and casting him into the abyss. Such a psychological reading is pursued in a meticulously Freudian direction by Anette Schwarz in her paper, “Social Subjects and Tragic Legacies: The Uncanny in Theodor Storm's Der Schimmelreiter” (The Germanic Review 73.3 [Summer 1998]: 251). Schwarz points out that neither Hauke nor his wife (Elke) has a mother who figures in the narrative (even though their fathers both loom large), and that Trin Jans stands in symbolically as the mother figure.

The most Freudian thing about Storm's novella, in my opinion, is its uncanniness. In describing the uncanny, Freud said that it characterizes fictional works that seem "to move in the world of common reality" but into which some strange, improbable or impossible events intrude. Freud focused on E. T. A. Hoffmann, but Storm's work seems a better epitome of Freud's theory.

Thomas Mann characterized Storm's achievement as "an art kind to the mystical and uncanny, the pagan northern art of [Der Schimmelreiter]. ... [I]t is precisely here ... that something of primeval power is finally achieved, some combination of human tragedy with the wild mystery of nature, something dark and heavy with the greatness and unknownness of the sea...." (Thomas Mann, 'Theodor Storm', 1930)

Update (Dec. 15, 2008): New York Review Books will re-issue James Wright's 1964 translation of this novella in early 2009. In their announcement of this upcoming publication, they quote from Kirkus Reviews the claim, "There is nothing better in German fiction prior to the work of Thomas Mann."

Falling in love with an automaton

I revisited E. T. A. Hoffmann's The Sandman, which Freud discussed in his paper on the uncanny. Written in the early 1800's, Hoffmann's tale anticipates more recent fiction involving automata. E.g., in The Sandman, a character falls in love with Olympia, whom he then discovers to be a robot. Freud notes that this strand of the narrative isn't the source of the story's uncanniness, and that, if anything, Hoffmann puts the automaton to a humorous, satirical use. E.g., once Olympia is exposed, Dr. Spalanzani, one of her designers, has to flee to "escape a criminal charge of having fraudulently imposed an automaton upon human society," a crime that sows "an absurd mistrust of human figures." Indeed, to be sure they're not dating robots, men start requiring their girlfriends to demonstrate their human imperfection by singing and dancing out of time, which is a very different male response from the one in Ira Levin's The Stepford Wives (where the realization that one is dealing with an automaton is uncanny). A similar motif animates one of the best episodes in the 1960's TV series The Outer Limits. This 1964 episode, 'Demon With a Glass Hand' (written by Harlan Ellison & starring Robert Culp), presents a woman's response to the discovery that she's fallen for an automaton -- she screams and runs away.

Update (Sept. 26, 2009): According to this Wiki article on the 'Uncanny Valley', real automata inspire only revulsion.

Update (Sept. 27, 2009): Unsurprisingly, there's also an old Twilight Zone episode featuring a relationship between a human person and a automaton. It's called 'The Lonely'.

Update (Oct. 4, 2009): And of course there's a Star Trek episode (from the original series) to be cited. It's called 'What are little girls made of?' It featured several 'androids', the best one of which was the obvious robot, Ruk (who was played by the same guy who played Lurch in the Addams Family).