Aesthetic Thursdays: Death of Marat

Jacques-Louis David's painting "Death of Marat," tells a real story. One of political intrigue and murder.

Death of Marat by Jacques-Louis David 
(held by the Royal Museum of Fine Arts in Brussels, Belgium)

David's Painting Is a Record of a Real Assassination 

I don't have to create a story about the above painting. History already has one. During the French Revolution, Jean-Paul Marat was a journalist. Marat was killed in his bathtub. Apparently, he loved taking long, luxurious baths. He had a skin problem (so he needed to take soothing baths). On July 13, 1793, He was assassinated by Charlotte Corday because she thought Marat was a cause of the violence and bloodshed (The French Revolution is famous for how many heads rolled.) in France. 

A Painting That Captures The Scene of a Crime

Marat was a radical Jacobin (which meant he was full-on anti-monarchy and full-on revolution). The jury is out on Corday's allegiances — some say she was in favor of the Monarchy while others said he was a supporter of the Girondins, a political faction who originally supported abolishing the monarchy, but later, became less radical in their politics. She was caught by the authorities and sentenced to capital punishment by the guillotine.

The Portrait of Marat Is Painstakingly Detailed and a Tribute to a Revolutionary

Looking closely at the painting, several features of the work are noticeable. The body of Marat is an idealized portrait of a corpse — similar to the paintings one sees of Jesus's body laid to rest. Marat's arm lays languidly on the side of the bathtub and he holds the tools of his trade — a quill and a parchment with a petition that had been given to him by Corday to sign. The knife that was used to kill him lies on the floor. David's careful arrangement of the scene makes Marat out to be the person he purported to be — a writer, and a revolutionary.   

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On the Manufacture of Childhood Innocence

In this post, we present a quote by James R. Kincaid on the production of childhood innocence in contemporary culture.

The Author as a Child From a Department Store Photo Shoot (c. 1980s)

Few would question that the innocent child was manufactured by Rousseau, with refinements by Wordsworth and thousand lesser writers, interior decorators, and producers of greeting cards.

— James R. Kincaid

Source: Kincaid, James R. Child-loving: The Erotic Child and Victorian Literature. New York: Routledge, 1994. Print.

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A Little Bit of Poetry: "Poem for a Trieb"

In this post, I present a poem I wrote inspired by a night of Scrabble where I felt the tug and pull of friendships and a desire to break through the mundane.

The author as a teenager —in Mandeville, Louisiana
at Georgette Pintado's house on Live Oak Street (with Amy and Jeff).

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I never venture to believe in avatars anymore
for they seem too
much like
superheroes,
like Jesus,
in his benign human nature, divine,
so I dismiss the idea of divine blood,
vouching for more a raw libido, exhausted
breaths, numbing existence,
mere existence —
The funny thing is
that
I

… when the coffee table
is cleared and Brian
sets up the Scrabble board,
David and Juniper
are determined to win,
so they joined in the fight to
beat us —

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Vocabulary Essay (Or, Short Brief): "On Bereft"

A very short brief on the word "bereft".
bereft (adj.) \buh-reft\
A state of loss, deprived. Often used with "of".

The face of a boy with a bereft look.

"Bereft" is a poetic word for it connotes loss without the slippery slope of s’s doubled in "loss".

The strong consonant sounds in bereft leads to a charge, tapering to a whisper, to a closure of the mouth, a word of leftover things, forgotten things, bereft things, a swallow of breath, exhaled, then exeunt.

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Setting Up The Scene: A Fight

Misè-en-scene of a too comfortable relationship:

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At Baltimore's Enoch Pratt Library, beneath the colored dome, we fought; because we were tired and travel-weary, more comfortable with our ordinary looks and automobiles, than here, in this constant going and coming.

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Flash Fiction: Laundry

When you appeared to me one night as a heap of laundry ...

Looking up from underwater . . . 

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Once, I woke up in the middle of the night, warm beneath the covering, and I thought you were there, on my bedroom floor, your face resting on my naked foot. So, I called out your name but you didn’t reply. "Hey," I said again. But, nothing. Remained. And then I realized, after a moment, no one was in the room. I was alone. You were only an apparition. Like when I visited Georgette in her calloused age, I washed her tired calloused feet with hard, soapy water and she thought I was George, her son. The pain for me is more acute, because I know I am alone. More alive. But alone. I drift back to sleep. In the morning I see the laundry haphazardly arranged at the edge of my bed. And I realize it was the heap of clothes that I thought was you, come to comfort me.

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image source: ohaytv

Quote on Empathy

On Walking in Someone Else's Shoes:

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"There are people who have the capacity to imagine themselves as someone else, there are people who have no such capacity (when the lack is extreme, we call them psychopaths) and there are people who have the capacity but choose not to exercise it."

J.M. Coetzee, The Lives of Animals
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Quotation: Walker Percy on Bourbon Drinking

Bourbon, Neat

Not only should connoisseurs of Bourbon not read this article, neither should persons preoccupied with the perils of alcoholism, cirrhosis, esophageal hemorrhage, cancer of the palate, and so forth — all real enough dangers. I, too, deplore these afflictions. But, as between these evils and the aesthetic of Bourbon drinking, that is, the use of Bourbon to warm the heart, to reduce the anomie of the late twentieth century, to cut the cold phlegm of Wednesday afternoons, I choose the aesthetic.

Walker Percy, Signposts in a Strange Land, "Bourbon", 1991

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Lesson Plan: World's Most Valuable Thing

See the end of this post for a
printable version of the World's Most Value Thing.

It's very simple to use this game designed by the folks at The Philosopher's Magazine. A few years back they did an issue devoted to children and philosophy. The issue has a game a teacher can organize with their students called "The World's Most Valuable Thing."
    I provided a scanned image of the handout above you can use, or if you are feeling creative you can use your own handout with your own world's most valuable things.
The rules are simple (click the link to read more):

Lesson Plan: An Example of Teaching Poetic Tone in the Classroom (with William Blake's "London" and "Jerusalem")

Class objective:  To continue the theme of Poetic tone by using examples from film and the poetry of William Blake.

The following class can be tailored to fit a high school language arts course or a college Introduction to Literature, or British Literature section.

Gay Rights and Teen Suicide: A Polemic

Why Tyler Clementi’s Death is a Hate Crime

Tyler Clementi, a gay college student, committed suicide
                  by jumping off the George Washington Bridge.

In 2010 gay men and women enjoy more acceptance in the United States than they did fifty years ago. Being gay has entered the social vocabulary, more so in urban areas than in rural parts of the country, but for the most part, gay rights have reached a middle ground in America. Gay people are not rallying in the streets with the same intensity as their older gay counterparts did. The LGBTQ (Lesbian, Gay, Bisexual, Transgendered, Questioning) community has successfully mainstreamed itself into secular society. So, the question remains, why does hate continue to exist? Has Gay Rights really won? Even though a gay man or woman can more or less exist in America as an openly gay person, everyone in America does not entertain a copacetic harmony with the integration of the Rainbow flag with the American flag. The sobering statistic is not even Gay Rights can ameliorate hate completely.

The Case of Tyler Clementi

According to the Massachusetts Youth Risk Survey, lesbian, gay, and bisexual youth are up to four times more likely to attempt suicide than their heterosexual peers. Why is that? What makes being gay harder to deal with, then say, being too tall or too short, or too wide or too shy? What makes “being gay” a driving force for a young person to end their own life? Hearing the story of Tyler Clementi, a Rutgers University student who jumped off the George Washington Bridge because his roommate broadcast a video of him kissing another guy, my first reaction is to think homophobia kills gay kids. Hate kills. Tyler’s death was driven by the same hatred that killed Matthew Sheppard. I say hatred because hatred is the only human emotion that I know of that actively and forcefully seeks to expel another person outside of the human circle. Tyler Clementi’s death is a hate crime because he was punished for being openly gay in the internal forum. If this is the case, then, Gay Rights has still far more reaching activism to spread.

An objection can be made, of course, that Dharun Ravi (with the help of Molly Wei) was not driven by hate when he chose to broadcast to the world his room mate’s private life to the world. People who use this argument miss the point. The intention of the perpetrators, in this case, does not wipe away what happened. Only a deep-seated feeling of hatred drives a person to end his own life out of shame. Tyler Clementi’s wall post on Facebook captures his shame: “"jumping off the gw bridge, sorry." The statement feels like a self-indictment and an apology for his own actions. The question of whether it is legitimate shame or not is a moot point. It is the same argument the bully uses. “I did not mean it.” Does it matter if the bully means what he says if the person bullied is obviously affected? If not, then these cases would be called mere pranks or pallor games. Dharun Ravi and Molly Wei’s action go beyond bullying because the actions extend beyond face-to-face harassment and into the broader social sphere.

Philosophy Thought Experiment: Nietzsche's Allegory of the Demon

Friedrich Nietzsche's most famous articulation of eternal recurrence of the same is imagined as a thought experiment.
The question Nietzsche poses is, ‘Would you live this life over again under the same conditions?’
After reading the quote, think of Bill Murray in the movie Groundhog Day and the allegory makes more sense.

 

Here is an excerpt from the text:

The greatest weight.— What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: "This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence - even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!"

Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus?... Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal?

- Friedrich Nietzsche

The Gay Science, s.341

translated by Walter Kaufmann

Source: Nietzsche, Friedrich W, and Walter Kaufmann. The Gay Science: With a Prelude in Rhymes and an Appendix of Songs. New York: Random House, 1974. Print.

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image source: fractal ontology

Cinema Paradiso: The Best Ending in a Film

One of the best endings in cinematic history is Italian director Giuseppe Tornatore's Cinema Paradiso (1988).

First, There is the Film's Score
     The score by Ennio Morricone is the most moving cinematic piece ever produced for the silver screen. The music is deliberately made to induce emotions, and I think it adds to this movie's overall sympathetic tone.
Second, There is the Film's Meta-ending 
     To fully appreciate the ending, one has to watch the entire movie. The last scene is a kind-of-love-letter to cinema itself. As a boy, the protagonist, Totò, befriends his hometown's cinema projectionist, Alfredo. In this small skirt of a town in rural Italy, the Catholic Church has considerable sway over what her parishioners can watch at the local cinema. The parish priest personally censors the films on view and directs Alfredo to edit out any scenes that depict kissing. At the end of the movie, Alfredo, who has since died, and Totò, who has become a famous movie director, there is a discovery. Can you guess what it is? The discovery becomes the movie's final scene. And it brought me to tears. If there is such a thing as poignancy without sentimentality, it's this film.  

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Monday Morning B&W Photo

Unfortunately, I'm not certain to whom I should cite the above photograph, but I post it anyway, as a valediction to Monday Mornings. People to see. Places to go.

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Video: Free Music for the Masses

A video taken in the Union Square subway station of musical performers in New York City.

 

A troupe performs in the public concourse at 14th Street Union Square station.

Location:Union Square, New York, NY

The Spirit of Capital: Philosophy Graduate Student Conference on Hegel and Marx at the New School for Social Research

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Call For Papers

Tenth Annual Philosophy Graduate Student Conference at the New School for Social Research   

KEYNOTE SPEAKER: MOISHE POSTONE

APRIL 28TH -29TH, 2011

55 W 13th St., New York, New York

The New School University

The New School for Social Research

“It is impossible completely to understand Marx’s Capital, and especially its first chapter, without having thoroughly studied and understood the  whole of Hegel’s Logic. Consequently, half a century later none of the  Marxists understood Marx!!” wrote Lenin in 1915. In 1969, Althusser responded, “A century and a half later no one has understood Hegel because it is impossible to understand Hegel without having thoroughly studied and understood Capital.” What are we to make of this challenge today? Are we now ready to understand Hegel through Marx, and Marx through Hegel?

It is high time for a reassessment of the core stakes of the Marx-Hegel debate. What would it mean to think the concepts of capital and spirit together? This conference is a place to explore the internal relations between Hegel and Marx’s philosophical projects. Some possible questions include: how does Hegel’s phenomenology, logic, philosophy of nature, history and right internally contain the elements that Marx will use to decipher the world of property, labor, commodities and capital? Is Capital a logical theory of forms or a theory of history? How does Marx negate and realize Hegel’s project? What is the role of labor in Hegel, and the role of spirit in Marx? Does the development of history show the unfolding of freedom or the unfolding of capital?  This conference echoes the early Frankfurt school tradition, with its project for a critique of the social forms of the present.

Themes
We encourage submissions on a wide range of topics and thinkers: 

Themes	Thinkers
The Philosophy of Right	I.I. Rubin
Substance and Subject in Capital	György Lukács
Hegel’s Logic and Marx’s Grundrisse	Karl Korsch
Property, Alienation, and Class	Ernst Bloch
Form and Content in Hegel and Marx	Walter Benjamin
Concrete and Abstract Labor	Alfred Sohn-Rethel
Master and Slave	Theodore Adorno
Critique, Dialectic and Method	Herbert Marcuse
Time and History	CLR James
Freedom and Necessity	Raya Dunayevskaya
The Value-Form	Guy Debord
Critique of Labor	Alexander Kojeve
Revolution and Negation	Jean Hyppolite
Proletarian Self-Abolition	Frantz Fanon
Materialism and Idealism	Helmut Reichelt
Commodity, Money and Capital	Hans-Georg Backhaus
Capital and Spirit	Gillian Rose

Submissions
Papers ranging from 3,000 to 5,000 words should be submitted in blind review format to s p i r i t o f c a p i t a l @ gmail.com
Include the following in the body of the email:
i. Author’s name
ii. Title of Paper
iii. Institutional affiliation
iv. Contact information (email, phone number, mailing address)
Please omit any self-identifying information within the body of the paper.

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Plato's Allegory of the Cave in Plain Language

Retold from The Republic of Plato

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image credit: "Plato and the Pure Forms"

       Once upon a time, everyone on earth lived in total darkness. In a cave.
       The only light people had was from a huge fire. The fire never stopped burning. The fire shone light from behind the people. But people were unable to turn around and see the source of the light because they were all chained to a wall. In between the fire and the people were cut-outs, of animals, trees, dogs, cars, etc., all the objects of the sensible world.
        The light from the flame cast the outline of the paper cut-outs onto the wall of the cave. The people chained to the wall were only able to perceive shadows of objects and not real objects. People only saw images. People were content. No one attempted to escape.
        But, one day a man became unchained. He at first did not know what to do with his new found freedom. But, he decided to turn around. He was surprised to see, when he turned around, that what he thought was real, was only shadows cast onto a wall from paper cut-outs.
         "That's lame," he said.
         He walked around the fire and the paper cut-outs and found an exit out of the cave. He climbed out. He stood on solid ground. He looked up and saw the brightness of the sun and shielded his eyes. The light was intense. After living in a cave all his life he had never experience the light of the sun. The intensity of the light was way too much for his unaccustomed eyes. But after a few hours above ground he began to adjust to the light and was able to see more clearly. He could discern leaves on trees and was able to distinguish goats from dogs. Everything was way more clear than down in the darkness of the cave.
        He became so overjoyed at what he was seeing, that he decided to tell all his friends in the cave so they could know the truth. He went back underground. Into the darkness.
        "Hey, guys. It's me. Look. You're all chained to a wall and what you see on the wall is not really real. Those are just shadows. You cannot see it, but behind you is a fire that casts shadows of paper objects onto the wall. None of that is real. I have been above ground and seen the sun and have seen real trees and real dogs. Not shadows. Allow me to release you from your chains and you can see for yourself."
        The people would not have any of this. They said amongst themselves, "He is crazy. Let us kill him." So they did. All at once they pounced on him and killed him because they could not accept the truth of his words.
         After they killed him they forgot about him. To this day no one speaks of the unchained man.

The End

If you would like to teach your students the Allegory of the Cave and you need additional resources, check out this lesson plan I created on Teachers Pay Teachers. You and your students will love it - and I gave it a lot of extra time and attention (which I hope you'll use and appreciate).

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Art Review: Hitler McDonald

Learn about Noah Lyon, an artist in New York City who does mashups of Ronald McDonald-cum-Adolf Hitler.

Noah Lyon, an artist in New York City, has showcased at the New York Art Book Expo his poster image of an amalgam between Hitler and Ronald McDonald. Strangely, the combination seems appropriate, don't you think?

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Hedwig and the Angry Inch and Plato's Theory of Bisexuality

Read about how the song "Origin of Love" from the musical movie Hedwig and the Angry Inch is a primer on Plato's theory of bisexuality.

image credit: Hedwig and the Angry Inch

Freud uses the myth of the three human figures (taken from Plato’s Symposium) to illustrate the human instinct to return to a former state, which he calls the death drive, which, as seen by the myth, is fueled by the libido of desire.

“‘The original human nature was not like the present, but different. In the first place, the sexes were originally three in number, not two as they are now; there was man, woman, and the union of the two.’ Everything about these primaeval men was double: they had four hands and four feet, two faces, two privy parts, and so on. Eventually Zeus decided to cut these men in two .... After the division had been made, ‘the two parts of man, each desiring his other half, came together, and threw their arms about one another eager to grow into one.’” (Freud Beyond the Pleasure Principle, 69-70).

In the film Hedwig and the Angry Inch, Hedwig uses the same myth to inspire a song she calls “The Origin of Love.” 

Feel inspired? Use the lesson plan I added to the TpT catalog.

Lyrics from “Origins of Love”

Photograph: "Make A Wish"

The Make-a-Wish Virgin

There are miracles around us. New Orleans is a city of the night. If you live here, it is imperative that you make your way through its streets with an open eye. You never know what you may find.

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