Education and the Historical Swirl: Part II

We concluded Part I on this topic with the following comments which we wish students to incorporate into their educations, irrespective of the major, field or concentration:

The gold standard itself, dominated from London led to intricate problems: Golden Fetters: The Gold Standard and the Great Depression, 1919-1939 (published in 1992) by Barry Eichengreen, the leading historian of monetary systems, shows the downstream pitfalls of the gold standard.

In other words, the de facto emergence of Britain/London as the world commercial and policy center and the relation of this emergence to empire and international tensions and rivalries, means it is very problematical for any country to steer a course other than staying in tandem with British moods and ideologies, such as free trade. Any country by itself would find it difficult to have a more independent policy. (Friedrich List of Germany, who died in 1846, wrestles with these difficulties somewhat.) The attempts to find “autonomy and autarky” in the interwar years (Germany, Japan, Italy) led to worse nightmares. The world seems like a “no exit” arena of ideologies and rivalries.

The “crazy dynamics” and the semi-anarchy of the system, which continues to this day and is even worse, means that policy-making is always seen through a “dark windshield.”

History in the globalizing capitalist centuries, the nineteenth and the twentieth, is a kind of turbulent swirl and not a rational “walk.”

Here’s a bizarre but necessary comment on this sense of turbulent and surprising swirl propelling history forwards and backwards and sidewards at the same time:

The historian, Barry Eichengreen (mentioned above), is a distinguished analyst of world monetary systems at U.C. Berkeley and perhaps the leading expert today on the evolution of such systems.

From movies such as Shoah and Last of the Unjust by the great filmmaker Claude Lanzmann, we know that Barry Eichengreen’s mother was Lucille Eichengreen, a Jew born in Hamburg, Germany (1925) and deported to the Łódź Ghetto in Poland during World War II. She survived through many miraculous accidents and contingencies, then wrote about her experiences.

We get a deeper insight into “the way of the world” by seeing that the Holocaust itself has as a backdrop the anarcho-craziness of the world. The Fascists and Nazis were jumping from the “frying pan into the fire” by imagining that world conquest and world-murdering could “stop the world.” They and their favored populations could “get off” and step into a racial dreamworld. They were taking today’s concept of “gated community” and applying it to the “racial community” (Volksgemeinschaft, in German).

This led to the phenomenon depicted in Goya’s famous aquatint: The Sleep of Reason Produces Monsters.

The perceived madness of the world and the madness of leaders that this perception leads to have never been analyzed together.

The fact that the behavior of world leaders could be “crazy like a fox” (half-insane, half-opportunistic, or Machiavellian “clever”) is a complicating factor or twist from Mussolini until today.

Memes, Tropes and “Signs” in the “University” That Surrounds Us

A famous face or tune or quip or saying or photo constitutes the raw material for a shared cultural understanding around the world. Everybody somehow knows “James Bond” or “Mercedes” or “Big Ben” in London or the “Eiffel Tower” in Paris.

Think of the Polish movie masterpiece from the mid-fifties, Kanał by Wajda. It shows the doomed resistance story of the Warsaw Uprising of 1944 against the Germans, which followed the Warsaw Ghetto rebellion of a year earlier.

“Kanał” means sewer, and the story takes place in the sewers of Warsaw as this band of resistance fighters tries to avoid being killed by the Germans who still have overwhelming military superiority in weapons, ammunition, etc.

At one point these fighters enter a Polishbourgeois” home (i.e., great wealth is on display) and one of them, Michal, the classical musician, played by Sheybal (whom you will have seen as a villain in James Bond movies) goes over to the piano they find, a Bechstein, and “plays around” including the famous tango from Uruguay and Argentina, “La cumparsita” (the little parade) which went “viral” (for its time) around 1916-1917 “radiating out” from Uruguay and Argentina.

Famous versions of this tango include Carlos Gardel’s and performances by orchestras led by Juan d’Arienzo, Osvaldo Pugliese and Astor Piazzolla. “La cumparsita” is very popular at milongas; it is a common tradition for it to be played as the last dance of the evening.

The song was named cultural and popular anthem of Uruguay by law in 1997.

Appearances in Movies

Gene Kelly dances to “La cumparsita” in the film Anchors Aweigh (1945). The song was included in a ballroom scene of the film Sunset Boulevard (1950), in which Gloria Swanson and William Holden danced the tango. In the 2006 dance movie Take the Lead, Jenna Dewan, Dante Basco and Elijah Kelley danced to a remixed version.

In the 1959 film Some Like It Hot, “La cumparsita” is played by a blindfolded Cuban band during a scene in which Jack Lemmon dressed in drag dances with overstated flair in the arms of Joe E. Brown who thinks Lemmon is a woman (“Daphne—you’re leading again”). During the filming in 1958, actor George Raft taught the other two men to dance the tango for this scene.

Miscellaneous

In the Olympic Games of Sydney 2000, the Argentine team marched with the Uruguayan music “La cumparsita.” This originated protests and official claims from the Uruguayan government. The work was also an opening part of an infamous radio drama: The War of the Worlds was broadcast as an episode of the American radio drama anthology series The Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938, and aired over the Columbia Broadcasting System radio network. This was directed and narrated by actor and future filmmaker Orson Welles.

Many artistic gymnasts have used variations of the song as their floor routine soundtracks including Vanessa Atler (1998–99), Jamie Dantzscher (2000), Oana Petrovschi (2001–02), Elvire Teza (1998), Elise Ray (1997–98), Natalia Ziganshina (2000), Maria Kharenkova (2013) and MyKayla Skinner (2011–12). Joannie Rochette skated to the song for her short program during the 2009–2010 season, most famously skating a clean performance at the 2010 Winter Olympics after the sudden death of her mother.

Students should realize as part of an education, thought of in the sense we are introducing here, that the world is an “ambient” ecosystem of these cultural icons, memes and tropes and one should be attune to them and how they connect the world into something like a semi-shared experience.

Notice, say, that the Bechstein piano, played by Michal (Vladek Sheybal) in the movie Kanał (he later goes mad and playing an ocarina, starts reciting lines from Dante and loses his mind) is the name of the Bechstein family which were instrumental in the rise of Hitler. The irony should be part of the student’s viewing experience and should show how “screwy” the world is.

Notice too that there’s an ocarina-playing character in the movie Stalag 17 who’s described as mentally unwell.

All of these aspects are part of the material world and the iconic world and the world of “signs” that are part of our education, understood as ambience of which the campus is one part only.

Essay 105: The Captive Mind Book and Intellectual Danger

The Captive Mind, by Polish poet Czesław Miłosz, is a classic work in the domain of “mental freedom” and resistance to propaganda and every kind of brainwashing. Every nation state is to some extent a “lie factory” and a “deception machine.” A person has to “fend off” this manipulative or ideological power grab.

This very handbook of mini-essays, “Meta Intelligence,” is itself partly a defense of the non-captive mind, in the tradition of the Miłosz book. On the other hand, there’s a danger here “on the other side” since there’s a “free floating intellectual” temptation to take a sneering attitude towards all belief systems and to look down on the average person. There are dangers on all sides of this “non-captivity” of the mind. By embracing globalized and cosmopolitan education and by looking for knowledge connections in lectures, fields, universities, we look for a mental stance which is non-captive but not dismissive of believers. The French have a saying for this sense of intellectual superiority, “de haut en bas,” talking from “high to low,” from top to bottom.

Our purpose is to promote educational understanding, re-enchantment and “homemade” exercises in holism and not to promote superiority attitudes. Herman Melville’s Ishmael, the only survivor in Moby-Dick is tolerant and cosmopolitan and not exclusionary or monomaniacal like Ahab or Starbuck. Ishmael’s receptivity to things is a good model for such improved education, whether by life, whaling ships, academe.

The Captive Mind (Polish: Zniewolony umysł) is a 1953 work of nonfiction by Polish writer, poet, academic and Nobel laureate Czesław Miłosz.

It was first published in English translation by Secker and Warburg in 1953. The work was written soon after the author’s defection from Stalinist Poland in 1951. While writing The Captive Mind, Miłosz drew upon his experiences as an illegal author during the Nazi Occupation and of being a member of the ruling class of the postwar People’s Republic of Poland. The book attempts to explain the allure of Stalinism to intellectuals, the thought processes of those who believe in it, and the existence of both dissent and collaboration within the post-war Soviet Bloc. Miłosz describes the book as having been written “under great inner conflict.”

Czesław Miłosz was a Polish-American poet, prose writer, translator, and diplomat. Regarded as one of the great poets of the twentieth century, he won the 1980 Nobel Prize in Literature.

Born: June 30, 1911, Šeteniai, Lithuania
Died: August 14, 2004, Kraków, Poland
Awards: Nobel Prize in Literature