Remember the West?

As I was reading Catherine Keller’s Cloud of the Impossible for our upcoming book event, I was reminded of Deleuze and Guattari’s claim from What is Philosophy? that philosophy is about the creation of concepts. That is clear enough in the early fragmentary efforts of the pre-Socratics, who often wear their poiesis on their sleeve by adopting a poetic form for their conceptual inventions. Almost immediately, however, the creative element is covered over or denied in the Socratic-Platonic claim that we only ever remember what we most authentically know. Socrates covers over the construction of his arguments by insisting at each step of the way that what he’s arguing is what his interlocutor somehow already knows — most astoundingly in the Meno, where he presses the uneducated slave into service to prove what he already knew all along. Knowledge always has the structure of a prequel, which comes after and yet claims to be coming before.

In the excellent article on Shimer College that I’ve been relentlessly linking, our approach is characterized as “Socratic.” In the sense that our classes proceed via dialogue, this is true. It may also be true in other senses, as certain faculty members make a point of disrupting any consensus or conclusion, in the spirit of the early Platonic dialogues.

What worries me, though, is the thought that we may be Socratic in the sense of creating “the Western tradition” as its own prequel. A curriculum based in the classics often legitimates itself by reference to seemingly neutral criteria like “influence” — how could we ignore Plato or Augustine or Descartes, given how influential they’ve been? Whatever the merits of what came after, they can only be fully understood once we’ve grasped the sources that make them possible!

In this view, the task of the curriculm is one of remembrance: of our heritage, of our sources, of our roots. Yet the primary outcome of any curriculum is not to reflect influence but to create it. We may gesture vaguely at all the other exciting texts that our classics will enable them to grasp more fully, but we are not requiring them to read those things. What we are actively producing is a group of students who will take certain texts as a point of reference, who will read other texts as part of a tradition in dialogue with those supposed “sources.” The very act of requiring these “classics” enshrines them as authoritative, as definitionally more important that the other texts that we don’t have time for — the course is already packed!

What we’re increasingly finding is that the tradition that the “Western” elements of our curriculum help to construct is not welcoming to all the people we want and need to welcome. And what I hope we’ll be able to do in the coming years — what we’ve already begun to do by revising the Humanities capstone course, which is now arguably the most diverse course in the curriculum — is to shift from a mode of remembrance to a mode of open, avowed creation. We need to create a tradition for the kind of community we want to be, in order to produce the kind of student we want to send into the world.

That may mean reimagining a lot about how we construct our courses — by theme instead of by historical genealogy, for instance, so that Machiavelli can talk with Sun Tzu and Lenin without any presumption of “influence.” In some ways, this would represent a return to the more ambitious construction of the Great Books as a “great conversation” about the big questions rather than a historical sequence. We’d have to recognize that some of the authors had not previously been in conversation with each other — but what’s to stop us from bringing them into conversation and making them talk to each other as they talk to us? The risk is an easy eclecticism, but perhaps the Great Books model needs a swing of the pendulum in that direction to counteract its exclusivist tendencies.

It will certainly mean letting go of certain treasured texts to make room for other voices. And it may mean selecting texts that from a Western perspective seem more secondary, for the sake of creating more productive dialogue with other traditions. It’s hard for me to imagine ditching Augustine’s Confessions, for instance, since it is such a uniquely polyvalent text standing at the crossroads of multiple genres and traditions. Yet the reason for retaining it is not that “it’s been influential,” but because its intrinsic properties make it a convenient relay for dialogue with many other texts.

Admittedly, in some areas of the curriculum a more or less traditional Western framing may be the only pedagogically practical method. I’m thinking in particular of the classical traditions of Western art and music, which have the virtues of being relatively continuous and more or less finished — but the point of that focus wouldn’t be simply to highlight the “all time greats,” but to think systematically about what a tradition is and can be, and what it looks like for a tradition to be spent. This is only a speculative example, but the principle I’m trying to get at is that the Western framing can never be regarded as the default, but must be positively justified, with an open admission of the limitations that it imposes.

There is a utopian element in Shimer’s pedagogical model, and I think that the curriculum could be shaped in a more utopian direction as well. In a certain sense, the naysayers to my more inclusive vision are correct — there is no global, inclusive tradition, and that lack must be acknowledged. Yet an inclusive community of collaborative learning can serve as a testing ground for a global, inclusive tradition to come, an experiment in constructing a new and more hopeful tradition of and for the future, rich with surprising connections, in which the past is precisely not as we remember it, but has become new.

Shimer College in the Guardian

A few months ago, Shimer College received some decidedly unwelcome publicity: Ben Miller, writing for the Washington Monthly, named it the worst college in America. This prompted Jon Ronson, a reporter for The Guardian, to visit Shimer and investigate whether it really deserved that designation. The result is an amazing portrayal of Shimer’s work and what it means to the students, faculty, staff, alumni, and friends who devote themselves to it.

My hope is that this story will overshadow the original study that prompted it (and in the article, Ronson cites Miller’s regret that his methodology — based solely on economic criteria and likely distorted by Shimer’s very small sample size — wound up singling Shimer out in this way). Already the story has been linked approvingly by Neil Gaiman:

This is especially exciting because being a fan of Neil Gaiman is one of the most reliable indicators of being a good fit for Shimer! Why not apply today or — if it’s too late for you to enjoy a Shimer education yourself — support our work?

Thoughts on teaching Islam in a “Great Books” style

At Shimer College, we pride ourselves on teaching “primary texts” as much as possible. The goal here is to make sure that all the reading we assign is “discussable,” which secondary sources providing background usually are not. In general, I prefer this approach, but so far in my Islam class, I have begun to see its limitations. Class discussions have a greater number of uncomfortable silences than usual, and it seems to be mostly because the students don’t feel equipped to approach the texts.

On one level, this is strange, because although Islamic intellectual traditions are of course different from their various “Western” counterparts, they’re not that different. Indeed, in many cases they are drawing from literally the same broad traditions as the “Western” sources we discuss in other classes — above all, the biblical prophetic tradition and Aristotelian philosophy. In the grand scheme of things, the surah “The Cow” from the Qur’an is more similar to Deuteronomy than different, and ibn Khaldun’s political philosophy is more similar to Machiavelli and Hobbes than different. Yet in both cases, the latter would most likely produce a much more fluid and comfortable conversation.

I’m not sure the problem is that the students lack background. It’s not as though the Islamic world has radically unintelligible social standards, and I’m confident that the texts I’ve provided have given them at least as good a rough and ready background on the general shape of cultural life as they tend to feel like they have of Greek society or medieval times. Most of their assumptions about the Greeks and medievals probably wouldn’t stand up to serious scrutiny, and I do sometimes cringe when students pull out a facile argument about how something would’ve made sense “in the culture of the time” — but that sense of initial familiarity, even if partly unfounded, gives them confidence.

Yet it’s not simply foreignness as such that’s at issue. I don’t have direct evidence here, but I suspect that students would be more prone to jump right in with texts from other “Eastern” traditions. They would come to those texts expecting to find fascinating new ideas unparalleled in the boring Western traditions with which they’re familiar — and even if their sense of knowing what to expect is unfounded, it gives them the confidence to get started.

With Islam, by contrast, American culture conveys a consistent impression of inscrutable Otherness, utter impenetrability. Orientalist scholarship of course exacerbates this, as even introductory works throw an unconscionable number of Arabic terms at their readers, creating the impression that Muslims make use of bizarre, foreign concepts that we Westerners can’t fully understand. Further, engaging with Islam feels much more fraught and dangerous than engaging with Buddhism. Political circumstances give us the sense that it’s urgently important to “understand Islam,” but fear of making insensitive remarks or perpetuating stereotypes produces a unique degree of reticence and caution.

In the short term, I plan to deal with this problem next semester by simply giving up and using more secondary sources in my course over the Qur’an, for instance by opening the course with Sells’ much-recommended Approaching the Qur’an and using a translation of the Qur’an with much more robust explanatory notes. If students feel like they need more background to get started discussing, I’m probably not going to achieve much by repeatedly insisting they don’t.

In the long term, though, I think the only solution for Shimer College, if it wants to remain faithful to its general approach while doing the needed work of exposing students to Islamic thought, is to include Islamic sources alongside Western sources as a self-evident part of the dialogue that we’re trying to create. This doesn’t mean that every course must include Islamic sources, but I do think we would be well served to include Islamic texts beyond the obvious realm of philosophy and theology — why can’t ibn Khaldun appear alongside Hobbes and Machiavelli, or why couldn’t we read portions of ibn Rushd’s commentary on Plato’s Republic? Why can’t we read Hallaq alongside Foucault?

Yes, this would mean cutting something out in order to make room, but maybe every “Great Books”-style curriculum would do well to give up on the self-defeating goal of “covering everything” and think more intently about what we want students to get out of the texts and their juxtaposition (aside from checking them off the list of books that “everyone must read”). I’m sure that if we really had to justify every choice on a pedagogical level, we would find that no, we don’t actually need to read every single canonical early-modern political theorist, for instance, since our students are not at the level where they can detect the fine distinctions among them anyway. And in some cases, we may indeed find that the Islamic sources are actually more accessible and more suited to a background-free, “Great Books”-style approach than some of the Western texts we throw at them.

Speaking as one with authority

As I grow more accustomed to Shimer’s discussion-centered pedagogy, I am increasingly coming to understand that a big part of my job is not simply to encourage students to speak in class, correcting them or encouraging them as appropriate, keeping them on task and on topic. Instead, it seems to me that I’m there to provide and model certain ways of talking about the material. This is most acute in teaching music, where most students find themselves at a loss for what to say. Some of them will claim that they want something called “music theory,” and I have sometimes not taken that claim as seriously as I could because it was so obvious to me that knowing technical music theory would not be helpful to them in the way they hoped. In a recent conversation about how class was going, though, a student rephrased that request in a way that made much more sense to me: they want to be able to feel like they’re speaking with some kind of authority. They don’t need to be experts, but they want to feel confident that they’re not making up something totally random and off-base.

As my humanities class has wrapped up a unit on modernism, it struck me that, quite unintentionally, that was what I had done with the theoretical texts we used (Nietzsche’s Birth of Tragedy and Heidegger’s Origin of the Work of Art). Both of the texts centered on a broad opposition between two terms (Dionysian and Apollonian, earth and world) and gave some indication of how that opposition might play out in terms of particular artworks — and that was enough. Even if students didn’t feel sure how to apply the terms to the artwork at hand, they were at least able to say something concrete about why they were having difficulty. And once that base-level confidence that one is saying something concrete and relevant was achieved, it seems like the biggest problem was overcome.

The basic oppositions were far from the only thing that we talked about, but they opened up the space for the things we talked about. In many ways, the very uncertainty about how (and even whether) the terms might apply to a given artwork was beneficial — unlike with purely technical terms, there was no clear-cut right or wrong answer, so students could feel comfortable playing with them.

The question I’m now pondering is what kinds of texts might be able to do the same work in a first-year class rather than in a capstone for upper-level students. It seems to me that the Nietzsche and Heidegger texts are too difficult to throw at first-year students if the goal is for them to get rough-and-ready tools that let them start talking with confidence. At the same time, we currently use extremely technical primary texts about harmonic intervals, etc., so perhaps Nietzsche and Heidegger would be an improvement over that.

What I’m teaching this semester

This semester, I’m teaching Humanities 4: Critical Evaluation in the Humanities (syllabus), an elective on The Devil in Christian Thought (syllabus), and a small tutorial/directed reading that I’m calling Heidegger’s Middle Period (provisional syllabus). It’s a pretty exciting teaching slate for me, for a lot of reasons. First, I obviously get a chance to teach over my ongoing research, which should prove helpful in a lot of ways. Second, teaching Humanities 4, which has been in an “experimental phase” for the last few years, allows me to have a more direct hand in helping to shape the curriculum than I would normally have, and the music and art sections should help me to consolidate some of the skills I gained teaching the fine arts course last semester. Finally, this will be my first time doing a tutorial, and it should be fun to dig more deeply into Heidegger’s work with some students who already have a thorough reading of Being and Time under their belt.

Aside from my Shimer work, I’m also going to be doing a directed reading with Stephen Keating over Agamben, which should be helpful as I have a major conference paper over his work coming up this spring and will also very likely be working on more translations soon. (I prefer not to discuss this in detail until it’s finalized.)

What about you, my dear readers? What are you teaching this semester?

On being an ignorant schoolmaster

Inside Higher Ed has published an expanded version of my piece on teaching Shimer’s Humanities 1: Art and Music. The most notable addition is an introductory bit on Rancière’s Ignorant Schoolmaster.

Posted in Ranciere, Shimer College, teaching. Comments Off

Reminder about Shimer’s new transfer scholarship

This is a reminder that the deadline for applying to Shimer College’s new two-year, full-tuition scholarship for transfer students is next Friday, November 15. In addition to sumbitting the regular application materials, students will need to write a brief essay reflecting on a piece by Adrianne Rich. Over the subsequent two weeks, all applicants will do an interview with a Shimer faculty member where they will discuss the Rich essay, among other things. The recipient will be announced on December 6.

If you know of any students who may be interested in applying to Shimer, please let them know about this opportunity.

Posted in Shimer College. Comments Off
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