Essay 103: “Nervous Breakdowns” for Countries or Regions?

Hannah Arendt who became world famous with her Eichmann in Jerusalem 1960s book, says in her essays that Europe in the twentieth century was determined by a kind of national “nervous breakdown” in and centered on Germany.

If we allow for the fact that this is a “façon de parler” (way of expressing something) and not a rigorous comparison (a country is not one person writ large) Arendt’s figure of speech is suggestive and evocative.

Here’s an example. In 1919, Walter Gropius (died in 1969) gave a speech to students of his “Bauhaus” school, which sounds like a person picking up on a kind of national nervous breakdown:

First of all, Walter Adolph Georg Gropius was a German architect and founder of the Bauhaus School, who, along with Alvar Aalto, Ludwig Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, is widely regarded as one of the pioneering masters of modernist architecture. He is a founder of Bauhaus in Weimar.

Gropius says (July 1919, speech to Bauhaus students):

“We find ourselves in a tremendous catastrophe of world history, a transformation of the whole of life and the whole of inner man.
We now have to forget the time before the war, which was totally different.

The more quickly we adapt to the new changed world, to its new, if austere beauties, the sooner the individual will be able to find his subjective happiness.
We will be more spiritual and profound as a result of the German distress.
As the economic opportunities sink, the spiritual ones have already risen enormously.”

(quoted in German Expressionism, University of California Press, 1990, edited by Rose-Carol Washton Long, page 250, “July 1919 Gropius speech to Bauhaus students”).

We are reminded of Kierkegaard’s (died in 1855) anatomy of the kinds of human despair in his The Sickness unto Death.

The Gropius despair is a bit different because it mirrors a real or imagined German national catastrophe which is folded into a “catastrophe of world history.”

World War I and its aftermath loom as a kind of infinite “desolation row” for Gropius and we cannot judge what percentage of the despair is German and what percentage has to do with Gropius’s subjective state of mind.

In any case, we do have the sense of a “nervous breakdown” atmosphere, nationally and personally.

Might we also wonder if Anglo-America is flirting with such a “nervous breakdown” in 2019?

Essay 88: Podcast-Alert: Cars, Steel & National Security

Listen to The Sound of Economics

Guntram Wolff is joined by Alan Beattie, the author of the FT’s new Trade Secrets newsletter, and by André Sapir, Bruegel’s very own trade expert to discuss President Trump’s tariffs and whether or not they’re working.

Bruegel has launched an updated series of the Sound of Economics, hosted by Bruegel’s Director Guntram Wolff, Deputy Director Maria Demertzis and former Economist journalist Nicholas Barrett. Subscribe on iTunes, Spotify or Google Podcasts.

Previous Episodes

How to Make the European Green Deal Work

The European Green Deal will be a defining feature of Ursula Von der Leyen’s incoming Commission. But will carbon border taxes and single carbon prices be enough to make Europe climate-neutral by 2050? This week, Nicholas Barrett and Guntram Wolff discuss Bruegel’s new paper “How to make the European Green Deal Work” [Archived PDF] with Grégory Claeys and Simone TagliapietraListen here.

How Not to Spend It

Digital banking has made our lives easier, but why are people use mobile banking more likely to be overdrawn? This week Maria Demertzis and Nicholas Barrett are joined by Annamaria Lusardi, Denit Trust Endowed Chair of Economics and Accountancy from George Washington University School of Business to discuss financial literacy. Listen here.

Essay 59: Movies as a Second University

Head in the Clouds is a 2004 CanadianBritish war drama film written and directed by John Duigan. The original screenplay focuses on the choices young lovers must make as they find themselves surrounded by increasing political unrest in late-1930s Europe.

There’s a very informative scene in the movie where Penélope Cruz’s (the famous Spanish actress) character in the movie, suddenly says she has to go back to Spain because of the Asturias miners’ ferment which involves her family directly.  “The Asturian miners’ strike of 1934 was a major strike action, against the entry of the Spanish Confederation of the Autonomous Right (CEDA) into the Spanish government on October 6, which took place in Asturias in northern Spain, that developed into a revolutionary uprising. It was crushed by the Spanish Navy and the Spanish Republican Army, the latter using mainly Moorish colonial troops from Spanish Morocco.

Francisco Franco controlled the movement of the troops, aircraft, warships and armoured trains used in the crushing of the revolution.  While the insurrection was brief, historian Gabriel Jackson observed “In point of fact, every form of fanaticism and cruelty which was to characterise the Civil War occurred during the October revolution and its aftermath: utopian revolution marred by sporadic red terror; systematically bloody repression by the ‘forces of order’; confusion and demoralisation of the moderate left; fanatical vengefulness on the part of the right.”

The revolt has been regarded as “the first battle of” or “the prelude to” the Spanish Civil War.

Notice that miners have often been in the vanguard of radical labor unrest. This includes Thatcher’s England.

Remember the violent strikes in the Thatcher years and the Thatcher/Scargill feud:  “Arthur Scargill (born 11 January 1938) is a British trade unionist.  He was President of the National Union of Mineworkers (NUM) from 1982 to 2002.  Joining the NUM at the age of nineteen in 1957, he became one of its leading activists in the late 1960s.  He led an unofficial strike in 1969, and played a key organizing role during the strikes of 1972 and 1974, the latter of which helped in the downfall of Edward Heath’s Conservative government. His views are described as Marxist.

“A decade later, he led the union through the 1984–85 miners’ strike, a major event in the history of the British labour movement. It turned into a fierce confrontation with the Conservative government of Margaret Thatcher in which the miners’ union was defeated.  A former Labour Party member, he is now the party leader of the Socialist Labour Party (SLP), which he founded in 1996.” (from Wikipedia)

Remember too, the Ludlow Massacre: “The Ludlow Massacre was a domestic massacre resulting from strike-breaking. The Colorado National Guard and Colorado Fuel and Iron Company guards attacked a tent colony of 1,200 striking coal miners and their families in Ludlow, Colorado, on April 20, 1914, with the National Guard using machine guns to fire into the colony. Approximately 21 people, including miners’ wives and children, were killed. The chief owner of the mine, John D. Rockefeller, Jr., was widely excoriated for having orchestrated the massacre.

“The massacre, the seminal event of the Colorado Coal Wars, resulted in the deaths of an estimated 21 people; accounts vary. Ludlow was the deadliest single incident in the southern Colorado Coal Strike, which lasted from September 1913 to December 1914. The strike was organized by the miners against coal mining companies in Colorado. The three largest companies involved were Colorado Fuel & Iron Company, owned by the powerful Rockefeller family; Rocky Mountain Fuel Company, and Victor-American Fuel Company.” (from Wikipedia)

The movie Matewan gives a glimpse of the Battle of Matewan (also known as the Matewan massacre) which was a shootout in the town of Matewan in Mingo County and the Pocahontas Coalfield mining district, in southern West Virginia.  It occurred on May 19, 1920 between local coal miners and the Baldwin–Felts Detective Agency.

Lastly, the movie Confidential Agent, based on Graham Greene’s writings, is a story about various participants in the Spanish Civil War (1936-1939) trying to convince British coal-miners and coal-mining companies to stop selling coal to the Franco royalists who will use the coal to work metal into gun and planes and steel for the military.

One has in a sense come full circle since 2012 to see a renewed Asturias, Spain, miners revolt and ferment: “The 2012 Asturian miners’ strike was an industrial dispute involving more than 8,000 coal miners in the Spanish autonomous community of Asturias.”

The geographer David Featherstone has described the strike as “one of the most dramatic forms of anti-austerity protest to emerge in the wake of the crisis of 2007–2008.”

The tremendous tensions between haves and have-nots in Europe before WWII, is also alluded to in the movie Julia. “Julia is a 1977 American Holocaust drama film directed by Fred Zinnemann, from a screenplay by Alvin Sargent. It is based on a chapter from Lillian Hellman’s book Pentimento about the author’s relationship with a lifelong friend, ‘Julia,’ who fought against the Nazis in the years prior to World War II.”

In Julia, Vanessa Redgrave’s character tells Jane Fonda’s: “There’s a lot of interesting progressive experimentation going on in Floridsdorf.”  This scene goes unnoticed by the average movie viewer but is very informative since Floridsdorf was a section of Vienna that was trying all kinds of progressive communal social forms in the thirties, all of which, like the Asturias miners’ ferment in Spain, was crushed by right wing violence.

In other words, one can get a sense of Europe “seething” with left-right tensions before WWII, with the Spanish Civil War from 1936-1939 as a kind of “overture” to all of it.

The current turmoil in Spain over the removal of Franco (died in 1975) remains to a less monumental site is tied up with all these fights of yesteryear and all the violent atrocities that accompanied the suppression of all progressive movements under the all-purpose “rubric” of anti-Communism.

Essay 46: Novelists As Prophetic?

There are three French novelists who say prophetic things in their writings, predictions that are based on intuition and sensibility and not on any formal forecasting at all, but far-seeing nevertheless. Consider these three:

Jules Verne (died in 1905):

Paris in the Twentieth Century (FrenchParis au XXe siècle) is a science fiction novel by Jules Verne. The book presents Paris in August 1960, 97 years in Verne’s future, where society places value only on business and technology.

Written in 1863 but first published 131 years later (1994), the novel follows a young man who struggles unsuccessfully to live in a technologically advanced, but culturally backwards world.  Often referred to as Verne’s “lost novel,” the work paints a grim, dystopian view of a technological future civilization.

Verne’s predictions for 1960:

The book’s description of the technology of 1960 was in some ways remarkably close to actual 1960s technology.

The book described in detail advances such as cars powered by internal combustion engines (“gas-cabs”) together with the necessary supporting infrastructure such as gas stations and paved asphalt roads, elevated and underground passenger train systems and high-speed trains powered by magnetism and compressed air, skyscrapers, electric lights that illuminate entire cities at night, fax machines (“picture-telegraphs”), elevators, primitive computers which can send messages to each other as part of a network somewhat resembling the Internet (described as sophisticated electrically powered mechanical calculators which can send information to each other across vast distances), the utilization of wind power, automated security systems, the electric chair, and remotely-controlled weapons systems, as well as weapons destructive enough to make war unthinkable.

The book also predicts the growth of suburbs and mass-produced higher education (the opening scene has Dufrénoy attending a mass graduation of 250,000 students), department stores, and massive hotels. A version of feminism has also arisen in society, with women moving into the workplace and a rise in illegitimate births. It also makes accurate predictions of 20th-century music, predicting the rise of electronic music, and describes a musical instrument similar to a synthesizer, and the replacement of classical music performances with a recorded music industry.  It predicts that the entertainment industry would be dominated by lewd stage plays, often involving nudity and sexually explicit scenes.

Flaubert (died in 1880):

In his posthumous novel published in 1881, Bouvard and Pécuchet, a satire on random knowledge-seeking, the two clerks of the book title, conclude that sometime in the future, America will “take over” the world or its hegemonial leadership. To see that America would supplant Europe, in those days, is quite “counterintuitive.”

Bouvard and Pécuchet details the adventures of two Parisian copy-clerks, François Denys Bartholomée Bouvard and Juste Romain Cyrille Pécuchet, of the same age and nearly identical temperament. They meet one hot summer day in 1838 by the canal Saint-Martin and form an instant, symbiotic friendship. When Bouvard inherits a sizable fortune, the two decide to move to the countryside. They find a 94-acre (380,000 m2) property near the town of Chavignolles in Normandy, between Caen and Falaise, and 100 miles (160 km) west of Rouen. Their search for intellectual stimulation leads them, over the course of years, to flounder through almost every branch of knowledge.

Balzac (died in 1850):

In his novel, The Wild Ass’s Skin (La Peau de Chagrin), Balzac describes scenes and conversations which lead one insightful interpreter of his to remark:  “On the level of world history, this incident can be read as an allegorical prefiguration of the contemporary conversion of Asia to the materialistic motivations of the technological societies of the West.”  (Balzac: An Interpretation of La Comédie Humaine, F.J.W. Hemmings, Random House, 1967, page 173)

Hemmings says:  “Europe and then American norms are generally accepted among what we call the advanced societies of the world: a civilization concerned above all to stimulate and then gratify the innumerable private desires of its citizens…In Balzac’s day, this civilization had reached its highest development in Paris.”  (Hemmings’s book, page 173)

These three novelists bring to mind Heidegger’s (died in 1976) more recent sense that science and technology from Europe would take over dominant “planetary thinking” and that would “wring out” any sense of “being” or “being-in-the world.”

These three writers gave us “allegorical prefigurations” (to use the Hemmings’s phrase above) of the present which are startling in their far-seeing sense of things and that raises the question: who might their equivalents be in our time?

Essay 1: Unnoticed Dimensions of Knowledge

Let’s “get down to cases” right now:

  1. You learn decimals and fractions in school. You see that 1/2 can be written as 0.5 or 0.50 or with as many zeros as you like. That seems “clean.”

But 1/3 is equal to something more complex (i.e., 0.3 recurring or repeating, like 0.3333 and so on infinitely).  If you divide 1 by three you keep getting three.

Imagine you want to experiment a bit, and multiply the fraction 1/3 by three and the 0.3 recurring by three, thus not affecting things since you’re doing the same thing to both sides of the equation.

You get:  1 = 0.9 recurring or repeating.

You’re suddenly puzzled: How can 1 be obtained by adding “slices of 9 fractions” (i.e., 9/10 + 9/100 + 9/1000) to infinity. How do you get to the end? What end? 

It turns out that it’s not that simple to get a grip on all this.  A person who allowed themselves to become fascinated by this specific conundrum would enter a “beautiful ocean” of mathematics beginning with so elementary a phenomenon.

This shows you a deep connection between a part (e.g., the fraction and decimal 1/3 and 0.3 recurring) and the wider world or domain or universe of numbers.

How can it be that such a simple elementary “thing” becomes so intricate, deep and elusive?

  1. Let’s jump over to an entirely different kind of example. Think of Dinesen’s novel Out of Africa. Remember the movie with Meryl Streep and Robert Redford.

Suppose you turn the movie “inside out” and “upside down” and ask: is this movie about coffee and coffee bushes, coffee markets and coffee growing, in a colonial context?  The coffee plantation is near Nairobi (today’s Kenya) and involves plantation economics, colonial relations with Kikuyu peoples, German-British colonial tensions around World War I.

Suppose I take the “backstory” and make that the “frontstory”.

The story of “economic botany” (coffee growing is one case) and colonial tensions between and among Europeans as well as Europeans and Africans is the deeper and larger story while the “musical beds” of the Westerners is a colorful footnote.   

We have the perennial question of “parts and wholes” which is one theme of this book.       

  1. Why does science “orbit” some numbers such as π (pi) (i.e., 22/7)?

You learn in school that there’s a ratio called π (pi) which is 22/7. Think of π (pi) as some kind of essence of circularity. Remember πr2 and 2πr in grade school.

Why does it keep appearing in almost every equation of physics? Why would “circleness” “haunt” science and math? Probability and statistical theory are dependent on π (pi) as a variable. Why?

You could peruse:

A History of Pi is a 1970 non-fiction book by Petr Beckmann that presents a layman’s introduction to the concept of the mathematical constant π (pi)

Why does science “orbit” some numbers such as π (pi)?

This is an example of this quest for connectedness.