Showing posts with label Literature. Show all posts
Showing posts with label Literature. Show all posts

Maps From Books: A Review of a New Book


Well, someone has beat me to it, but maybe that didn't get everything? From the linked Weekly Standard review:

"Barring some unforeseen miracle of publishing occurring in the next few weeks, The Writer’s Map will be my book of the year for 2018. It gathers intelligently charming meditations from writers and festoons them with map after map after map after map of imaginary, and sometimes non-imaginary, lands. (Only after several days of staring at the beautifully reproduced images did I force myself to read the words, but I am glad I finally did.) I am so enamored of this book that I bitterly resent what takes me away from it, whether that be the need to eat, or sleep, or write this review. But when duty calls, I sometimes answer."


Read the full review here:


https://www.weeklystandard.com/alan-jacobs/the-writers-map-review-cartographantasies

For my collection of maps from books click here.

To The Faculty of the Erasmus Institute of Liberal Arts

Dear faculty of the Erasmus Institute,

The United States cannot afford to lose the education that I was fortunate enough to experience at Thomas More College. That you all believe this is affirmed in the recent founding of The Erasmus Institute. There is no shortage of Catholic liberal arts colleges in this country, yet amongst all these bastions of revivalism what is lacking is a subtle continuity with the past--something for which these institutions seem to yearn so much. Instead, these colleges reject or combat the world of here and now; the world that allows us even to begin to wonder. The Cowan program, however, reaches toward the truth of necessity through that of contingent reality. It participates in and builds on the living tradition of American and Classical thought in a communal joy in proximity to truth.
 
 The fact that we studied William Faulkner in Literature, or Heidegger in Philosophy, or Voegelin in Political Science helped to define our school, but what was more essential and far more potent was the way students and faculty engaged their studies; the daily encounter on the part of everyone with poetry, tragedy and comedy, and most importantly, the idea of communitas. Communitas lay at the heart of the education and tied it in a unique way with the great community of philosophers throughout the ages. When I am asked what was so wonderful about my education I can only describe the liberating joy of understanding a part of a poem for the first or fifth time, of reveling in a philosophical debate, or of reading one of the greatest thinkers of all time, but most importantly, of knowing that we were all pursuing truth together in a community as free human beings. It was this shared joy in a community of such wildly different people that opened up the world of truth to me and to my classmates and changed all of us forever. 
 
That the Erasmus Institute of Liberal Arts may continue this tradition is essential to all education today. Thank you for everything that you have given to all of us--your students--over the years, and know that it is with the deepest gratitude that we think of the hardships you have endured to continue the best education in America. With this vision and attitude toward truth there exists so much promise, possibility and happiness, that for it to disappear would be a an unthinkable loss to the world.
 
Sincerely,
Clipstock

From the Meno

Men. O Socrates, I used to be told, before I knew you, that you were always doubting yourself and making others doubt; and now you are casting your spells over me, and I am simply getting bewitched and enchanted, and am at my wits' end. And if I may venture to make a jest upon you, you seem to me both in your appearance and in your power over others to be very like the flat torpedo fish, who torpifies those who come near him and touch him, as you have now torpified me, I think. For my soul and my tongue are really torpid, and I do not know how to answer you; and though I have been delivered of an infinite variety of speeches about virtue before now, and to many persons-and very good ones they were, as I thought-at this moment I cannot even say what virtue is. And I think that. you are very wise in not voyaging and going away from home, for if you did in other places as do in Athens, you would be cast into prison as a magician.

Soc. You are a rogue, Meno, and had all but caught me.

Men. What do you mean, Socrates?

Soc. I can tell why you made a simile about me.

Men. Why?

Soc. In order that I might make another simile about you. For I know that all pretty young gentlemen like to have pretty similes made about them-as well they may-but I shall not return the compliment. As to my being a torpedo, if the torpedo is torpid as well as the cause of torpidity in others, then indeed I am a torpedo, but not otherwise; for I perplex others, not because I am clear, but because I am utterly perplexed myself. And now I know not what virtue is, and you seem to be in the same case, although you did once perhaps know before you touched me. However, I have no objection to join with you in the enquiry.

Men. And how will you enquire, Socrates, into that which you do not know? What will you put forth as the subject of enquiry? And if you find what you want, how will you ever know that this is the thing which you did not know?

Soc. I know, Meno, what you mean; but just see what a tiresome dispute you are introducing. You argue that man cannot enquire either about that which he knows, or about that which he does not know; for if he knows, he has no need to enquire; and if not, he cannot; for he does not know the, very subject about which he is to enquire.

Men. Well, Socrates, and is not the argument sound?

Soc. I think not.

Men. Why not?

Soc. I will tell you why: I have heard from certain wise men and women who spoke of things divine that-

Men. What did they say?

Soc. They spoke of a glorious truth, as I conceive.

Men. What was it? and who were they?

Soc. Some of them were priests and priestesses, who had studied how they might be able to give a reason of their profession: there, have been poets also, who spoke of these things by inspiration, like Pindar, and many others who were inspired. And they say-mark, now, and see whether their words are true-they say that the soul of man is immortal, and at one time has an end, which is termed dying, and at another time is born again, but is never destroyed. And the moral is, that a man ought to live always in perfect holiness. "For in the ninth year Persephone sends the souls of those from whom she has received the penalty of ancient crime back again from beneath into the light of the sun above, and these are they who become noble kings and mighty men and great in wisdom and are called saintly heroes in after ages." The soul, then, as being immortal, and having been born again many times, rand having seen all things that exist, whether in this world or in the world below, has knowledge of them all; and it is no wonder that she should be able to call to remembrance all that she ever knew about virtue, and about everything; for as all nature is akin, and the soul has learned all things; there is no difficulty in her eliciting or as men say learning, out of a single recollection -all the rest, if a man is strenuous and does not faint; for all enquiry and all learning is but recollection. And therefore we ought not to listen to this sophistical argument about the impossibility of enquiry: for it will make us idle; and is sweet only to the sluggard; but the other saying will make us active and inquisitive. In that confiding, I will gladly enquire with you into the nature of virtue.

Men. Yes, Socrates; but what do you mean by saying that we do not learn, and that what we call learning is only a process of recollection? Can you teach me how this is?

Soc. I told you, Meno, just now that you were a rogue, and now you ask whether I can teach you, when I am saying that there is no teaching, but only recollection; and thus you imagine that you will involve me in a contradiction.

Laundering Literature

Bowdlerization – A form of censorship named after Thomas Bowdler (1754-1825), a prison reformer trained as a physician and avid chess player who published an expurgated edition of Shakespeare in 1807. Words, themes and even characters which Bowdler deemed inappropriate were removed entirely, however he claimed proudly not to have added anything! After the relative success of “The Family Shakespeare” Bowdler set about a similar task, this time with Edward Gibbon’s monumental Decline and Fall of the Roman Empire which his sister published posthumously. Though perhaps not as preposterous as an alteration of Shakespeare, the attempt to make Gibbon less “racy” was met with much less success and even well deserved ridicule. To the idea of liberal learning perhaps only outright censorship could be more antithetical than this regurgitated version of primary sources. The desire to sanitize literature is the bright side of the more evil rewriting of history.

Scott's Six(7) Fallacies

For a slightly more detailed description of Geoffrey Scott's six fallacies of architecture (with the addition of his own fallacy) click here. I'm still developing my understanding of the fallacies and these examples. I am not sure about a couple of them, most notably the empathy fallacy, and the Porphyrios gallery in Nebraska (you have to admit the building is gorgeous).
 
Romantic Fallacy (Poetic)
Modern Example: 

Villa Savoye, Le Corbusier. It represents its own age as an association with a machine itself.

Traditional Example: 

The Duncan Gallery, Dmitri Porphyros. The New Schinkel – Germany’s version of Greek Revival. He makes good architecture through allusion to very specific precedents. This architecture can be considered good on the grounds that it is beautifully constructed, is a villa in the country, and because we associate it with Greek architecture, or Greek Revival architecture, also on other very good grounds. Does Porphyrios really believe classism is not a style? He might also be placed under the mechanical fallacy. Or it could be argued that because Schinkel really was great Porphyrios can get away with imitating him, especially since he does it so well.


Romantic Fallacy (Naturalism and Picturesque)
Modernist Example:

(Naturalism) Einstein Tower, Potsdam, Erich Menelsohn. Uses natural curves and shapes.


Traditional Example: (Picturesque) 

New Piazza in Alessandria, Italy, Leon Krier. Expressionist and associative, very picturesque. Trying to make it look old and built up over time. Eclectic.

Mechanical Fallacy
Modernist Example:

860–880 Lake Shore Drive, Meis van der Rohe. They represent their structure.

Traditional Example: 

Design for a Concert Hall, Viollet le Duc. Most current traditionalists get this fallacy, except for early traditionalists, Aldo Rossi? Traditional forms but allowing them to be machine like----postmodernism.

Ethical Fallacy
Modernist Example:

Unite d’Habitation, Corbu. This was supposed to make moral citizens.

Traditional Example: 

Zeppelinhaupttribüne, Albert Spier


Biological Fallacy
Modernist Example:

?

This shouldn't be hard, just use your imagination, maybe the "Cloud Pavilion" in Zurich.


Traditional Example:

West Dean Visitor Center, Christopher Alexander. A windowsill at the wrong height makes you sick. Scientifically grounding traditional architecture.

Academic Tradition
Modern Example: 

Guggenheim Museum, Bilbao Frank Gehry. No theory, no tradition.

Traditional Example: 

St. Thomas Aquinas Chapel, Duncan Stroik. Cut and past Palladio w/Spanish Colonial?


(7) Empathy Fallacy

Modernist Example:
 Goetheanum, Rudolph Steiner

Traditional Example: 

Heurtley House, Frank Lloyd Wright

The Architecture of Humanism

After a reading of Geoffrey Scott's seminal book, The Architecture of Humanism, an analysis of modern architectural criticism, I have condensed the six fallacies attending the assessment of buildings that he posits, as well as his own: the fallacy of empathy. Though published almost one hundred years ago, they are still as relevant today, if not even more so in the current debate of traditional architecture. The essential error of all of these fallacies is that they make those under their thrall take for granted the fallacy’s most essential qualities. Critics and architects have been so caught up in the frenzy of of whatever trend is popular at the time that they do not notice the weakness and oversimplification of its argument. 

Romantic (Poetic) – In regarding architecture as symbolic the romantic fallacy takes a detail from an era and spins it into a complete vision of that era. This is accomplished through the essentially literary association of significant experiences which can be different for every viewer in every age, rather than the necessarily direct and sensuous experience which Scott claims architecture requires.
Romantic (Naturalism and the Picturesque) – Here, as in the poetic fallacy, architecture is increasingly judged on moral grounds. The degree to which architecture conforms to the literary ideal of nature demonstrates its sanctity and thereby its worth to the romantic. However, nature is not an absence of rule. Architecture without rules is nothing more than “slovenly art.” As such, the result of following Nature is simply to justify the artist’s caprice.
Mechanical – Following the growing trend of specialization demanded of the arts in order for their successful subservience to the new god of Science, the most beautiful architecture is seen as that in which the structure is the best and in which it is most truthfully displayed. Once again the facts contradict the assertion. Neither Doric or Gothic architecture—the architecture praised by this fallacy’s advocates—use “good construction truthfully expressed,” but rather construction that is based in an aesthetic demand.
Ethical – Once the romantic interest in what architecture indirectly signified was established, it was a natural progression to seek for a moral reference in architecture. Architecture which was insincere “signified” a corrupt era or regime and was inimical to the morals of its viewer. To say this is, however, to confuse a moral failure with an aesthetic judgment. An artist’s moral rectitude does not dictate the aesthetic value of the product of his skill.
Biological – With the advent of the theory of evolution came the corollary dominance of the desire not to appreciate, but to explain. Thus, the focus of a biological criticism is no longer on the worthy events or terms of a historical sequence, but on the uniformity and gradual progression of the sequence itself. This places all parts of the sequence on an equal footing, the best with the worst, the mediocre with the excellent. More importantly, it focuses, with an intellectual interest, attention on the insignificant moments since these serve to complete the sequence. When a given moment in the sequence refuses to fit it is ignored or skirted over because it fails to illustrate the idea of artistic development within the more important concept of the sequence itself.
Academic Tradition - Simply put, this is the idea that the imposition of rule and order, specifically the five canonical orders, is accompanied by a stultification of the discipline. But this is not the case in any worthy building until the Romantic movement. “Architecture requires a principle of permanence.” It requires, like all art, a cannon against which it can judge itself. The rules and orders of ancient Rome served to ground art in truth, through the example of the past. In the Renaissance the rules of Vitruvius are “quoted illustrated, venerated, praised” and entirely disregarded.
Empathy (Scott’s Fallacy) – Through the transcription of architecture into terms of ourselves we are able to identify ourselves with its apparent state. What this means, however, is that in the projection of human functions on the outside world the viewer is simply imbuing the object with qualities which he, the subject, desires it to have. Once again, there is an attempt to alter reality to fit the requirements of our caprice.

Additional Fallacies that may be added to the the list:
The Zeitgeist
Functionalism
Sincerity
Utopianism
Decadence
Relativism

Maps from Books VII

Mistress Masham's Repose
by T. H. White

The Palace of Malplaquet based on Stowe School and Blenheim Palace.

"Tell me about the Horses."
"What about them?"
"Tell me," she said guiltily, "how they ought to be pronounced."
The Professor threw his head back firmly and began to neigh.
"What?"
"Can you neigh?"
Maria tried, to see if she could.
"How did you do it?"
"Let me see, I kept my mouth shut, and I don't think my tongue moved, and I sort of kept on huffing out a wriggly squeal, through the back of my nose."
"You couldn't spell it very well, because you do it with your mouth shut. So there can't be any proper letters, really, not real vowels."
"Well, Dr. Swift used a 'hou' for the huffing part, and a Y for the squealy part, and N's and M's are the part in the nose, Houyhnhnm. It is what a horse says."
"It isn't very easy to pronounce in the book, not when you are reading aloud."
"It is only a question of practice," said the Professor grandly. "Practice and self-confidence." 
                                -From Chapter XXV

Cetology

Moby Dick - Chapter XXXII 
The word cloud was created using frequency of a word's use in the text to generate its relative size.


(click the image for more detail)

Maps from Books VI

The Mysterious Island
by Jules Verne

“Lincoln Island” as engraved by Sédille for Hetzel,
based on a sketch by Verne. Mysterious Island (1875). 
Image from Science Fiction Studies

Maps from Books III

Missee Lee
by Arthur Ransome

One of the more far-fetched Swallows and Amazons stories... "Camblidge" educated, twenty-two gong Chinese pirates, Latin lessons, and the Tiger, Turtle, and Dragon Islands.


Tiger, Turtle and Dragon Islands

Maps From Books II

The Wind in the Willows
by Kenneth Grahame
"The sheep ran huddling together against the hurdles, blowing out thin nostrils and stamping with delicate fore-feet, their heads thrown back and a light steam rising from the crowded sheep-pen into the frosty air, as the two animals hastened by in high spirits, with much chatter and laughter. They were returning across country after a long day's outing with Otter, hunting and exploring on the wide uplands, where certain streams tributary to their own River had their first small beginnings; and the shades of the short winter day were closing in on them, and they had still some distance to go. Plodding at random across the plough, they had heard the sheep and had made for them; and now, leading from the sheep-pen, they found a beaten track that made walking a lighter business, and responded, more-over, to that small inquiring something which all animals carry inside them, saying unmistakably, 'Yes, quite right; this leads home!'"

-From Dolce Domum

Maps from Books I

The Jumblies
by Edward Lear 

"For they'd been to the lakes, and the Torrible Zone,
And the Hills of the Chankly Bore...."




I thought this was an appropriate map to begin this series of posts. Edward Gorey illustrated a version of The Jumblies published in 1968 with this wonderful image of the the far side of the Western Sea. It measures 14 x 42 cms.