Norman Finkelstein’s I’ll Burn that Bridge When I Get to It! Heretical Thoughts on Identity Politics, Cancel Culture, and Academic Freedom (2023) is an important book that ought to be read by anyone trying to figure out what the hell has happened to “progressive” America these past few years.
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The “Great Conversation” model of the university presupposes an intellectual posture of skepticism and humility that is incompatible with claims of epistemic privilege, the notion that some individuals or groups have greater inherent access to truth. UChicago DEI initiatives should reflect this by incorporating perspectives that question all aspects of DEI. Not doing so results in a “Great Monologue” that impedes the quest for truth and diminishes the possibility of truth-based activism, as well as denigrates those holding currently unfashionable views. Continue reading
Whether or not a particular 12-year-old boy died at the hands of Israeli soldiers, the image of Mohammed al-Dura is an authentic symbol of the Israeli occupation. Avoiding this harsh truth does a disservice to Israel and the Jewish people, as well as to the Palestinians, hinders the quest for peace, and endangers everyone if the wrong lessons are drawn from the al-Dura incident. Continue reading
Welcome to the Basic Program of Liberal Education for Adults. You and your classmates are about to embark upon a voyage. A voyage that adults in Chicagoland have embarked upon for 50 years. A voyage that, experience shows, may literally change your life. To help you get your “sea legs,” as it were, I offer the following words of advice. Continue reading
Produced as part of the preparation for the Basic Program’s 50th Anniversary (1996–1997), four volumes of the highlights of archival material gathered from various sources concerning the origins and development of the Great Books Movement with emphasis on the role of the University of Chicago in general and the Basic Program of Liberal Education for Adults in particular.
Although Lewis Carroll’s “Jabberwocky” is traditionally considered to be ‘nonsense’, such a characterization ultimately rests on a Western folk notion of language as fundamentally semantico-referential. A more semiotically- and pragmatically-informed view of language and language-use, however, is capable of describing in considerable detail both the means by which a text such as “Jabberwocky” “makes sense” and the ends to which such a text can be put. Indeed, such a view shows that some discursive ends are particularly suited to attainment by means of so-called “nonsense” texts such as Jabberwocky. This paper outlines such a view and applies it to “Jabberwocky”, which is thus seen to make both denotational and interactional “sense”. Continue reading
Although the notion of a dialectical (or reciprocal) relationship between psychology and culture has been nominally acknowledged for over a generation, it is only recently and tentatively that the study of developmental norms has begun to be shaped by this fact. This paper presents a theoretical outline of this relationship and the resulting need for a self-conscious (or reflexive) study of developmental norms. Continue reading
Every people has stories that it tells about itself-stories about where it comes from, about its place in the universe, about its essential characteristics. Indeed, one of the key functions of “culture” is to impress these stories on each succeeding generation. When successful, this process makes these stories so “obvious” to insiders as to be self-evidently true (despite the fact that these same stories remain self-evidently dubious to outsiders). In these respects, the American people and American culture are no different than any others. From the beginning, Americans have constructed stories — political, historical, literary — as a way of defining themselves and their place in the world and thus as a way of shaping their destiny. A look at works as diverse as The Declaration of Independence, The Federalist Papers, The Scarlet Letter, The Gettysburg Address, and “Paul Revere’s Ride,” can illustrate this phenomenon and help us temporarily stand outside ourselves as we seek a better understanding of who we truly are. Continue reading
After my sister Fanny passed away, we closed the piano and moved away. We moved up to the Bronx where my father was a builder and we moved into one of the buildings that he built. During the summer we used to go away on vacation. My sister Rose used to go for the entire summer because her two children went to camp nearby. And my mother used to go there, I think, for the whole summer too. Continue reading
Since its publication in 1871 as part of Through the Looking-glass, Lewis Carroll’s “Jabberwocky” has become one of the quintessential examples of “nonsense poetry” in the English language. Such a classification largely reflects the poem’s apparent non-referentiality when set against the background of a theory of language that claims unambiguous reference as the sole (or at least, highest) goal of language use. Since Carroll used a number of words that appeared to have “no sense”, and hence no referents, “Jabberwocky” as a whole appeared to be not fully “meaningful”, and hence not fully referential — i.e. the poem appeared to be “nonsense”.
This paper argues that any analysis of “Jabberwocky” that begins and ends by noting the poem’s “faulty” referentiality misses the point. For it is precisely this referential ambiguity that Carroll uses to achieve an effect that could not be achieved via the use of fully referential language. In particular, Carroll has created a parody of a ballad of dragon-slaying in which ambiguities about the setting, the hero and the beast force readers/auditors to project their own knowledge, concerns and identities onto their “readings” of the text. In other words, the ambiguity in “Jabberwocky” is not a bug but a feature in a “readerly” text that speaks at once to the personal heroes and beasts in each of us.
To support this claim, three types of data are discussed. First, a semiotic analysis of the poem itself lays bare the means by which the text achieves its effects, focusing particularly on its invocation of an appropriate “beast genre” and on its poetic structure. Second, the cultural context which made (and makes) such a feat possible is considered. And finally, psychological findings about people’s processes of interpreting “Jabberwocky” are reported.
Ultimately, “Jabberwocky” is seen as highly meaningful, both “literally” and “metaphorically”, in ways that make it appropriate for inclusion in a child’s fairy-tale. Moreover, we arrive at a fuller appreciation of Carroll’s genius as an author in full control of his craft. Continue reading