Tag: Thomas Mann

Movies As Universities: The Case of So Ends Our Night

So Ends Our Night is a riveting and moving 1941 movie version of Erich Remarque’s classic novel Flotsam (English, German: Liebe deinen Nächsten).

You may remember Remarque as the author of the international best-seller All Quiet on the Western Front, a big success in movie theatres of that time. Thomas Mann generally is considered the premier German writer of the twentieth century, and while that’s true in terms of prestige perhaps, Remarque is a more gripping German author.

Flotsam tells a great story about stateless refugees during the Nazi nightmare circa 1937. (One should immediately sense the resonance in our time with the millions of political and climate refugees, exiles, fugitives, and victim peoples like the Rohingya of Myanmar and the Uyghurs of Xinjiang, China, experiencing cultural genocide. We might extend this list to the Tutsis of Rwanda in 1994, the European Jews of World War II, and the Armenians of 1915 in the Ottoman Empire massacres. One could add the Chinese in Indonesia who experienced a genocidal pogrom in 1965. (Think of the movie, The Year of Living Dangerously with Mel Gibson.)

The movie So Ends Our Night, based on Remarque’s great work Flotsam, shows Fredric March and Glenn Ford playing supremely harried stateless refugees, hounded all through Europe, in a nightmare of life “without a country,” passport, visa, citizenship.

Glenn Ford is only half-Aryan and is in danger of being murdered by the Nazi crazies. Fredric March is not racially endangered, but as an opponent of Hitler’s regime and a dissenter could be murdered for that treason. Both are in a “having no passport” hell.

Between minutes 23 and 24 of this movie, March explains to Glenn Ford’s 19-year-old on the run like he is:

“Individuals or nations, it’s all the same, as long as they’re safe and comfortable they don’t give a hoot about what happens to anybody else.

There’s the misery of the world.

That’s why progress is so slow and things slip back so fast.”

With some reflection, you’ll probably see the deep point March makes about global history and “the way of the world” plainly expressed without camouflaging the truth.

You can learn quite a bit if you ponder this movie conversation, with both refugees sitting under a tree, harried and distressed, in a nightmarish emergency.

Thus, So Ends Our Night can be a movie-as-university for you and feed your meta intelligence.

Essay 42: The View From Nowhere as an Additional Problem in “Thinking About Thinking”

The View From Nowhere is a book by philosopher Thomas Nagel.

Published by Oxford University Press in 1986, it contrasts passive and active points of view in how humanity interacts with the world, relying either on a subjective perspective that reflects a point of view or an objective perspective that takes a more detached perspective. Nagel describes the objective perspective as the “view from nowhere,” one where the only valuable ideas are ones derived independently.

Epistemology (what we can know and why) is puzzling to the max if you ponder it for a moment. Think of a painting in a Boston museum. If you walk up to it, you see only the little piece in front of your nose so you back up and try to get an “optimal grip.” (to use Prof. Merleau-Ponty’s language.) If you walk all the way to China and try to see it from there, you will see nothing of it, no matter what telescope you might use. This is sort of what we mean by “the view from nowhere.” You’re way too far.

This brings us to the problem of the “detached observer” (modern versions of which stem from Descartes, who wants to get a bird’s eye view of all other bird’s eye views.  This is tricky and elusive for the obvious reasons. When Richard Feynman or some other physicist theorizes, is he not achieving a view from nowhere or is he? No one will deny a place to theoretical “standpoints” and “viewpoints.” The theoretician is himself a person who breathes, and sneezes, and yawns, and gets hungry and has to stretch his or her legs after too much sitting. One can’t quite “move into one’s own mind” since all theory is “embodied.”

Human beings have the unique ability to view the world in a detached way: 

We can think about the world in terms that “transcend” our own experience or interest, and consider the world from a vantage point that is, in Nagel’s words, “nowhere in particular.”

The strange human situation is seen from the fact that this “view from nowhere,” this “detached observer” theoretical stance, includes the theorist himself, the detachment and the theory as part of the “bird’s eye view” without any particular concrete bird serving as your ambassador or proxy.

“The unifying theme, as Nagel puts it at the beginning, is the problem of how to combine the perspective of a particular person ‘inside the world’ with an objective view of that same world, the person and his viewpoint included.”

(Bernard Williams, 1986 book review, London Review of Books.)

We have already seen the problem of Husserl‘s (died in 1938) “rhomboid” or “matchbox” (i.e., you can’t see the entire matchbox all at once) or Ortega y Gasset‘s “orange” (i.e., you cannot see the back or obverse or reverse of a spherical orange unless you walk around it and lose the first view from the front) and all this “partial viewing” takes place on “Neurath’s boat.” (Where we’re like sailors on a knowledge ship and can’t go back to any origins and can’t discuss Platonism with Plato himself. The Harvard philosopher Quine, among others, mentions this problem.) The ship movies forward and the “matchbox/orange” are viewed in some cabin on the ship (i.e., your field, such as chemistry or history or biology).

Lastly: think of the opening line of Thomas Mann’s (died in 1955) great novel, Joseph and His Brothers: “Deep is the well of the past. Should we not call it bottomless?”

In other words, there is no way for us as “knowledge detectives” to go back to the origins of ourselves or our history since that’s all unrecoverable and lost “in the mist of time.”

A student embarking on a “knowledge quest” (university education) should not dodge these puzzles and mysteries but look at them “unblinkingly.”  A deep education means all the dimensions of the quest are in front of the student and not wished away.  This includes the student’s own danger of being lost as “a leaf in the whirlwind of time.” (Hannah Arendt phrase we have already seen.). Career aside, there are multiple “Rubik’s Cubes” here if the student wants to experience the deep and the wide.