The Stages of Life According to Erikson

Erik Erikson, the accessible psychologist, child of Freud, conceived of an eight-layered schematic to illustrate the entirety of human development —  first marked out in his groundbreaking book, Childhood and Society. In this book, he maps out a continuum from birth to death of the struggles of human development. Even though they are not meant to be like a grocery list, I list them out here:

1. Trust and Mistrust  

The first stage begins at the moment the infant meets the outside social world for the first time. Our first experiences with the world forms the basic trust/mistrust dyad. It’s kind of like the father who tosses his daughter up in the air and catches her. Trust: he catches her safely. Drops her? Basic mistrust forms.

2. Autonomy and Guilt

The struggle between autonomy and guilt – that nasty fight between independence and the debilitating fear of the all-seeing eye that threatens to swallow you alive with its judgment, catapulting a person into shame and doubt.

3. Initiative and Guilt

Then, of course, there is the whole question, “what do I do with myself once I’ve achieved autonomy?” that either gets us going to self-actualization or we become mired in the things we should have done or said – in a word: guilt. 

4.Industry and Initiative

Every child has to learn what to create with their bodies after they’ve decided they can actually get off their haunches and express themselves – and added with that, the internal feeling of being loved and the inner worth that goes along with creating work worthy of pride.

5. Identity

You can have an identity, it seems, without struggling through those forgotten visceral experiences of infancy; adolescence merely pokes its ugly head in to confuse us all over again – and we thought the womb was tough.

6. Intimacy and Isolation

But once we get a firm grounding on who we are as individuals we can really enter into genuine intimacy with another, although rocking precariously with the threat of isolation; this is where boundaries are set and committed relationships begin.

7. Generativity versus Stagnation

  And once we accomplish these mile markers we feel we have to give something back; we feel mortality nipping at our heels and generativity rushes in as a contraposition to idle stagnation.

8. Coming to terms. Or not.

The final hurrah is accessing whether the whole thing was worth it from the womb to the final tomb. We struggle at this point in the journey between feeling satisfied that we have gained much from life and whether or not we have nurtured the seeds for our children’s children. If we feel we've failed, death is a painful process, and we sink into the depressing cavity of despair, hopelessly casting off any hopes for immortality.

image credit: The Library Company of Philadelphia

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Quotation: Nietzsche's The Gay Science

We philosophers are not free to divide body from soul as the people do; we are even less free to divide soul from spirit. We are not thinking frogs, nor objectifying and registering mechanisms with their innards removed: constantly, we have to give birth to our thoughts out of our pain and, like mothers, endow them with all we have of blood, heart, fire, pleasure, passion, agony, conscience, fate, and catastrophe. Life - that means for us constantly transforming all that we are into light and flame - also everything that wounds us; we simply can do no other (Nietzsche 1974 34-35).

Nietzsche, Friedrich W, and Walter Kaufmann. The Gay Science: With a Prelude in Rhymes and an Appendix of Songs. New York: Vintage Books.

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Dude Plays Saxophone at the Fulton Street Broadway/Nassau Station

 Don't worry. He was graciously tipped. 

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Day Fades on the Manhattan Bound J Train

I took a video of the window of the subway car as the train travelled over the Williamsburg Bridge at dusk on my way to the library from work.

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Top Ten Films To Watch Over and Over Again

What movies are better on a second (or third) viewing? Here is a list of movies you can watch over and over again.

1 The Seventh Seal A knight fresh back from the Crusades plays a pivotal game of chess with Death.	2 Citizen Kane A journalist attempts to track down the real story of newspaper mogul Charles Foster Kane.	3 The 400 Blows A delinquent boy in Paris grows up and discovers himself.	4 The Wizard of Oz A girl from Kansas ends up in a magical world where she must find the wizard if she wants to go home.	5 2001: A Space Odyssey A crew on a mission to Mars finds an unexpected foe.
6 Mulholland Drive A dreamy-eyed girl arrives in Los Angeles but her dreams do not turn out quite the way she planned it.	7. Beauty and the Beast fdfd A girl in France makes a deal with a man-turned-beast to save her father.	8 Billy Elliot A young boy in a coal-mining town in England takes on ballet dancing against his father's wishes.	9 Cinema Paradiso A young boy in Italy is obsessed with movies and befriends his small town's film operator.	10 Vertigo A police detective in San Francisco is given a case that threatens to unhinge him.

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A Gloss on the Child and Wonder

 "Blue Boy" Thomas Gainsborough 

Warning: This is merely a gloss and not a full argument. I am trying to think of the implications of the following issues for a larger paper on the topic of wonder: In 18^th century British genre painting, the novel and lyrical poetry gives rise to the notion of the child as a category of spontaneity and innocence. Blake, exalts the child in his Songs of Innocence and describes experience as a rite of passage in the Songs of Experience. Art in this period glorified the child as well, like Gainsborough’s the Blue Boy. The child as imaginative exuberance fits nicely into the Romantic project for what poets like Blake, Wordsworth and Coleridge tried to do was to break away from the stodgy hierarchies of Classicism to create a new kind of poetry that favored immediate experience and truth-seeking through the natural, everyday things of life. Coleridge sought to find the extraordinary in the ordinary, creating nostalgic lyrics that suggest tales of a Mediaeval source but are actually products of a childhood imagination. Romanticism, according to critics like Philip Aries and James Kincaid, created a rift between adult and child as two separate entities. Kincaid writes in his book Child-loving: The Erotic Child and Victorian Culture, “However much of childhood radiance is lost by the adult and however difficult the connections may be to recover, Wordsworth and Coleridge are not talking about two species staring at each other across the chasm of puberty but about a form of imaginative and spiritual continuity” (63). For Coleridge the child and his own childhood is a spring of “imagination and spiritual continuity”.  There is this idea of the child who is not marred by Blakean experience, untrammeled by the vicissitudes of life, is the engine of art.
I wonder though if we have misinterpreted the project of Romanticism proper. It is not that the child, as such, is the inspiration for art, but that art is born from the child. To be an artist one must be like a child in only one way: to wonder. Bridging the gap of experience, the only thing the artist takes with him from childhood, is wonder, but transmuted -- not the wonder of being in its fullness, which puberty finds it to be a sham -- but the wonder of being in its limits. For isn't the project of adulthood the wonder of being a philosopher? The fear of death no longer is the fear that there is no God, the fear of the child, but rather, that in death, we will no longer be able to philosophize.
Feel free to share your own ideas, below: