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
This paper is an attempt to weave an account of developmental psychology that is alternately descriptive and normative. In the descriptive mode it takes the discipline as data for which it seeks an explanation. In the normative mode, it takes the discipline as an enterprise for which it seeks optimal goals, theories and methodologies. Descriptive, it is anthropological, examining a Western sociocultural artifact. Normative, it is psychological, participating in a scientific undertaking to systematically study human ontogeny. Descriptive, it is on the outside looking in; normative, it is on the inside looking out. Collectively this paper claims that developmental psychology neither is what it says it is nor what it ought to be and asks: What is this project called “developmental psychology” and how ought it best be conducted? Continue reading
This paper is an essay in the full sense of the word: it is an attempt — an essay — to simultaneously work out two problems, one theoretical and one practical. On the one hand it seeks to articulate a theory of texts in social contexts. On the other it seeks to apply such a perspective to Homer’s Odyssey. From the point of view of the first problem, then, the Odyssey is simply an example, an empirical means to a theoretical end. From the point of view of the second problem, however, an understanding of the Odyssey is an end in itself. Continue reading
Did you ever want to be a hero? As a child did you ever fantasize about being the Lone Ranger? Or a knight in shining armor? Perhaps your taste ran more towards Superman and Batman. Do you remember the disappointment when you discovered that you would never be one? That heroes were fiction and that real life “just isn’t like that?” Do you remember all the other childish expectations you had for your adulthood that you surrendered as you discovered the limits of your ability? If so, you are not alone. From time immemorial, individuals have shared these dreams and disappointments and it is to you that the Odyssey is dedicated. Homer would like you to know that you were not mistaken as a child: You can be a hero. Indeed, you must be a hero for there is no other way. The Odyssey will show you how. Continue reading