On Tuesday morning after yoga I skipped my
usual song practice to edit my English essay. When the time came to leave for
Continental Philosophy I put my essay on a flash drive and worked on it some
more before the lecture. Maybe it’s a simple thing but for me it’s amazing that
I can plug a usb storage device into my laptop to edit files and then transfer
them back to my computer later.
In
his lecture, Professor Gibbs continued to talk about Levinas, which I hadn’t
read yet at all because I’d been focusing on my Nietzsche essay. He began by
saying, “Just when you thought it was safe to read philosophy, we gave you
“Meaning and Sense”. This second essay by Levinas is quite thick, while the
previous one, “Is Ontology Fundamental?” is easy, even though ontology is hard.
With
Levinas, we moved from Heidegger to something that escapes him: the Other. The
other is the entity that escapes meaning. The other is the only being that I
could murder, though in some sense it would escape. When I look him in the face
I see the command, “Don’t murder!” The face does not signify by living in the
house but rather calls me out of the house to language. To be in relation to
the other face to face is to be unable to kill. This is a breach on the
horizon. It is infinite but not huge, meaning it exceeds the finitude and
mortality of my horizon.
For
Heidegger, death and mortality are the fulcrum, but Levinas says there is
something else. A possibility of something not bound to my death resists my
power without being a counter power. It resists with nakedness a signifying
possibility of speech beyond the possibility to appear. It calls to me.
Levinas
is not sure if things have faces.
Levinas
is close to Kant’s practical philosophy but not his ontology. Beyond myself.
All
these issues about killing, face and signifying. Such reflection is only a
personal adventure. The human presents itself to the relation that is not a
power. In Levinas’s humanism, power is suspended. His is a space of ethics
rather than ontology. Ontology is not fundamental (Damn! He didn’t even say
“spoiler alert!” Now there’s no point even reading “Is Ontology Fundamental?”
now that Gibbs gave away the ending.) Ethics is first a first philosophy.
Ethics is the home of the fundamental inquiry.
Language
is about signs. “Signification” is the French word for “meaning”. 20th
Century philosophy was about language and time, but this is about signs.
Semiotics is the study of signs and it used to be a big deal at U of T.
Humanities have shifted away from this. Heidegger was about thinking in terms
of language but Levinas is about meaning in terms of language.
Levinas
doesn’t express his own view at the beginning of his essays. Those who don’t
read far enough in get the wrong impression.
The
professor talked about two kinds of metaphor. The first was an empirical
intuitionist intellectualism in which reality signifies intelligibility. The
sign points toward something that is not present but could be present, like a
picnic basket. This as Husserl’s type of metaphor.
The
second type of metaphor is about absence. Humanity will never be present.
Excess. It could never be present or contained like a horizon. It is
hermeneutic, which means it is about the study of the methodology of text
interpretation. In the margin beside this he wrote: horizon, world, context,
culture. It’s like the place where the picnic happens. This is Heidegger’s type
of metaphor.
Of
a book – it’s absent contents such as the shelves confer meaning. The book is a
metaphor for things more real than the book. We can’t perceive the book without
context. The book evokes it because it is prior to the metaphor.
Signifying
is poorer than perceiving.
From
the perspective of a god we have reality in the mind first and then we find
words for it. Independent of particular minds signs compensate for absent
things.
The
limits of language are circumscribed to the limits of consciousness.
A
metaphor as a reference to absence could indicate excellence.
Meaning
is not a consolation for a disappointing perception.
The
notion of the horizon is conceived after the model of the context. Smuggling in
the model of language and culture. We use language as a model to understand
language. We can’t ground words in pure thought. Language is only grasped with
the linguistic image of context.
Meaning
or signification precedes and illuminates data.
Levinas
takes a familiar term, shows the horizon behind it and shows the way the word
illuminates meaning.
The
given is presented from the first qua this to that experience. Experience is a
reading understanding of meaning and exegesis. No hermeneutics and not
intuition.
The
structure of the world resembles the order of language. The world is
linguistic. Nothing just is. Everything is always against a backdrop of words.
Disturbing totality in a different way. Going beyond totality.
The
body is key to signifying. I am in the world in a body. I have a mapable
location but my access depends on the operation of my body. The world is deeply
incarnated. I can only see with my eyes.
For
Heidegger things are illuminated on a stage of language.
For
Levinas the incarnate subject raises the curtain. The spectator is an actor.
You are not outside the stage but are rather part of the drama. If you weren’t
it wouldn’t be happening.
A
culture is a cultural object that we’ve made to accumulate meaning and to make
whole. Thought happens in the culture of our stuff. Everything that we
experience is cultural. He pointed out that we were sitting in chairs while
listening to a lecture rather than sitting on the floor. Culture feeds and
warms us and culture is inserted with the thoughts of incarnate minds.
It
is not fundamentally inwardness of thought that gives language meaning. We do
not express our inner life. Professor Gibbs at this point declared, “I have
rarely thought before speaking, though I have heard that some people do.” Thought happens in a language that we did
not invent. The meaning that we seek is already available but only in words in
a fully embodied culture.
Of
overcoming the subject-object structure: the subject is not outside looking in
or inside looking out. The subject is in a body. Signs refer to more than what
they name. It takes effort to point to meaning and it is a bit of a lie.
For
Plato, meaning came before language. We are addicted to this thinking and
grasping intellect that whistles things into reality.
But
for Levinas, meaning is not separate from the access leading to it. The
scaffolding is not taken down. How we get to knowledge is part of knowledge.
He
gave us the subject of the next lecture by saying that as we are colonial
subjects of the multiplicity of meaning, we can’t escape.
When
I got home I read through my essay out loud, changed two or three words and
then took a siesta. Before leaving for class I had time to go through it again,
changed a couple more words here and there, then I printed it up and went to
campus.
I
was about twenty minutes later than usual. I could tell from the blackboard
that a philosophy class had been in earlier. I erased everything but “I think,
therefore I am”, just because I wanted to see Andrew’s reaction when he saw
that phrase on the board. When he came in and was about to wipe it out, he
hesitated and said, “There’s a debate!” before erasing it.
In
the first hour of class we looked at the last of the postmodern stories, which
was Douglas Glover’s “Dog Attempts to Drown Man in Saskatoon”. Features of postmodernism on display in this
piece are fragmentation and the use of language to obscure, separate and
connect. Andrew asked what thing separates and connects, but I hadn’t heard the
word “thing” in his question. I began to talk about the separations and
connections in the story but he interrupted me and repeated, “What THING
separates and connects?” and he seemed a little annoyed with me. There were a
few wrong answers. I thought of a bridge but had forgotten whether there had
been a bridge in this convoluted story. I put my hand up and Andrew took his
time to acknowledge it but when he did I suggested “the river”. I guess I was
close enough for him to reveal that it was the bridge. I said, “I was gonna say
bridge!” and everybody laughed. When you think about it though, bridges only
connect and it’s the body of water that separates.
The
bridges in this story are both real and invented embellishments.
The
plot is arbitrary and switches back and forth between two narratives that
eventually connect: the narrator’s life and the story of the blind man and the
dog on the river. The second narrative is a substitute climax for the first.
All
stories are found in conflict between the characters within. How a story is
constructed is as important as the story itself.
Andrew
first of all made it clear that he loved dogs before he asked us the question,
“Why do dogs rescue people?” He concluded that it’s because they are parasites
and they are protecting their meal tickets. I think that he’s probably wrong
about this. Dogs are pack animals and they see the human beings that care for
them as members of their pack. They would just as naturally rescue other dogs
with which they’ve bonded and here’s an example: https://www.youtube.com/watch?v=-HJTG6RRN4E
Andrew
said that the first sentence of the story can be broken into three parts: “My
wife and I / decide to separate / and then suddenly we are almost happy
together.”
The
first person narrator has no name. Is he being evasive?
Since
he is a first person narrator, he can’t be an omniscient narrator and so when
he tells us what his wife is thinking, we know that he is probably off the
mark.
The
story is fragmented and distorted by inexact recollection and so it is moving
towards an unreliable truth. We can rely on the narrator to be unreliable.
The
story is a swamp of relativity.
Trying
to tell the exact truth leads to madness.
He
speaks as if the reader were a child.
The
narrator makes sure that we understand that he will frustrate and lead us
astray.
When
he talks about being in the middle the text is in the middle of the paragraph.
The middle of a bridge is the best perspective to have.
The narrator is
two courses short of a philosophy degree he will never earn. The author though
does have a philosophy degree. Both the narrator and the author worked as night
editors for a local newspaper. The narrator mentions three philosophers in the
story: Heraclitas, who wrote in fragments; Kierkegaard, who mocked system
building; and Nietzsche, who wrote in aphorisms.
The narrator
bestows free will on the reader and says, “Believe this if you wish.” Reading
is always a process of modification. We are free to invent symbols as we see
fit. The bridge is a symbol of change because there is always something on the
other side. A bridge is an object of culture while a river is an object of
uncertainty.
The narrator made
a list of things that may or may not have happened in the story. Andrew went
through the list with us and about two thirds of the things on the list did not
happen. But the very fact that they were on the list in the story meant that
they all actually did happen in the story.
In the second half
of the class we looked at two graphic fiction stories.
The first was Mark
Newgarden’s “Love’s Savage Fury”. Andrew gave us some background on Mark
Newgarden. He was one of the featured artists in the first issue of Raw
Magazine, of which I had a copy back in the 80s though I don’t remember his
work specifically. He was one of the creators of the Garbage Pail Kids, and I
was the only one in the class familiar with them, I guess because they were an
80s phenomenon and my classmates hadn’t been born yet during their popularity.
“Love’s Savage Fury” is based on the iconic comic strip, “Nancy”, which only
Andrew and myself had ever seen. In the story, Newgarden adds Bazooka Joe, from
the bazooka Bubble Gum comics as a romantic interest for Nancy. They meet on
the subway and the poles are the panel dividers for the comic. There are panels
that are entirely black to reflect the way the lights go out momentarily in New
York subway cars.
The last story we
looked at was Richard McGuire’s “Here”. Andrew projected the comic onto the
screen, but while pointing out details in the frames he found a lot of dead
flies in the way. Apparently flies are attracted to the screen when it is lit
but then when it rolls back up they are crushed.
Each panel of “Here” portrays
the exact same location, which is where in most frames there is the corner of a
living room by a window in a house. But the story goes back and forth in time
to when the house wasn’t there or to when it will not be there. The house was
built in 1902. Billy was born in 1957 and we see his whole life and death as we
jump ahead and backward. There are sometimes smaller panels quarantined inside
of larger panels as they each depict a different time. Within several frames
there is a black cat in small panels dated 1999. The cat is moving in the
opposite direction in which we are reading the comic and so a black cat is
crossing our path. One image is mapped on another to suggest the transfer of
properties from one to the other.
After class I told
Andrew that I didn’t understand why we were doing graphic stories in a short
story course. He dismissively said, “Why not?” and then he suggested that I
should “expand my horizons.” As someone who has always been into comics all my
life and who actually took Andrew’s Graphic Novel course, I don’t think he
needs to tell me to expand my horizons. He argued that a graphic novel has been
listed as the best novel, period, of the year. I argued that it would have been
interesting if what the storyteller achieved with graphics could actually be
achieved with writing. He just declared, “Sounds like an essay!” and left.
Some graphic
stories have very good writing that would stand up without the artwork. I would
say that if he is going to include graphic stories as short stories, he might
as well include songs and television commercials as well.