Whether or not the humanities are truly in crisis, the current debates around them have a certain gun-to-the-head quality. “This is why you -- student, parent, Republican senator -- shouldn’t pull the trigger,” their promoters plead. “We deserve to live; we’re good productive citizens; we, too, contribute to the economy, national security, democracy, etc.” Most of these reasons are perfectly accurate. But it is nonetheless surprising that, in the face of what is depicted as an existential crisis, most believers shy away from existential claims (with someexceptions). And by not defending the humanities on their own turf, we risk alienating the very people on whose support the long-term survival of our disciplines depend: students.
One reason why our defenses can have a desperate ring to them is that we’re not used to justifying ourselves. Most humanists hold the value of the objects they study to be self-evident. The student who falls in love with Kant, Flaubert, or ancient Egypt does not need to provide an explanation for why she would like to devote years of her life to such studies. To paraphrase Max Weber, scholarship in the humanities is a vocation, a “calling” in the clerical sense. It chooses you, you don’t choose it. The problem with this kind of spiritual passion is that it is difficult to describe. To paraphrase another 20th-century giant, Jimi Hendrix, it’s more about the experience.
It’s not surprising, then, that when we humanists feel (or imagine) the budget axe tickling the hairs on the backs of our necks, we don’t have ready-made apologia with which to woo or wow our would-be executioners. And because a calling is hard to explain, we turn instead to more straightforward, utilitarian defenses -- “but employers say they like English majors!” -- which, while true, don’t capture the authentic spirit that moves the humanities student.
There is of course sound logic to this approach. Government and state funding is a zero-sum game, and politicians are more likely to be receptive to practical arguments than to existential propositions. But in the long run, it takes more than state and university budgets to maintain the health of the humanities. It also takes students. And by constantly putting our most productive foot forward, we may unintentionally end up selling ourselves short (disclosure: I, too, have sinned). The fundamental reason why students should devote hours of their weeks to novels, philosophy, art, music, or history is not so that they can hone their communication skills or refine their critical thinking. It is because the humanities offer students a profound sense of existential purpose.
The real challenge that we face today, then, lies in explaining to a perplexed, but not necessarily hostile audience -- and perhaps even to ourselves -- why it is that the study of literature, anthropology, art history, or classics can be so meaningful, and why this existential rationale is equally important as other, more utilitarian ones. This line of argument stands in opposition to proclamations of the humanities’ uselessness: to declare that the humanities are of existential value is to affirm that they are very useful indeed.
So how might we go about defining this existential value? A good place to start would be with existentialism itself. A premise of existentialist philosophy is that we live in a world without inherent meaning. For atheists, this is often understood as the human condition following the death of God. But as Jean-Paul Sartre pointed out in “Existentialism is a Humanism,” even believers must recognize that they ultimately are the ones responsible for the production of meaning (in fact, many early existentialists were Christians). Abraham had to decide for himself whether the angel who commanded him to halt his sacrifice was genuinely a divine messenger. In Sartre's memorable formulation, man is “condemned to be free”; we have no choice but to choose. While it may feel as though a humanities vocation is a calling, you still have to decide to answer the call.
The realization that meaning isn’t something we receive from the outside, from others, but that it always must come from within us, from our conscious, deliberative choices, does not make us crave it any less. We are, existentialists insist, creatures of purpose, a thesis that psychological research has also confirmed.
Now what does this have to do with the humanities? It’s not that obvious, after all, how reading Madame Bovary, the Critique of Pure Reason, or The Book of the Dead can fill your life with purpose. At the same time, we also know that some people do find it deeply meaningful to peruse these works, and even to dedicate their careers to studying them.
What is it, then, that lovers of literature -- to consider but them for the moment -- find so existentially rewarding about reading? In a recent book, my colleague Joshua Landy argues that one of the more satisfying features of literature is that it creates the illusion of a meaningful world. “The poem forms a magic circle from within which all contingency is banished,” he writes apropos of Mallarmé’s celebrated sonnet en -yx. The order we discover in literary works may be magical, but it isn’t metaphysical; it comes from the sense that “everything is exactly what and where it has to be.” Art offers a reprieve from a universe governed by chance; what were merely sordid newspaper clippings can become, when transported into artful narratives, The Red and the Black or Madame Bovary. Landy suggests that fictions produce these illusions through a process of “overdetermination:” the ending of Anna Karenina, for instance, is foreshadowed by its beginning, when Anna witnesses a woman throwing herself under a train.
If art offered only illusions of necessity, it would hardly satisfy existential longing. Pretending that everything happens for a reason is precisely what the existentialists castigated as “bad faith.” Yet there’s an obvious difference between enjoying a novel and, say, believing in Providence. We don’t inhabit fictional worlds, we only pay them visits. No lover of literature actually believes her life is as determined as that of a literary heroine (even Emma Bovary wasn’t psychotic). So why does the semblance of an orderly universe enchant us so?
Well-ordered, fictional worlds attract us, it seems, because we, too, aspire to live lives from which contingency is kept at bay. Beauty, wrote Stendhal, is “only a promise of happiness.” As Alexander Nehamas suggested, in his book of this title, the beautiful work of art provides us with a tantalizing pleasure; beauty engages us in its pursuit. But what do we pursue? “To find something beautiful is inseparable from the need to understand what makes it so,” he writes. Behind the beautiful object -- sonnet, style, or sculpture -- we reach for the idea of order itself. The promise of happiness made by art is a promise of purpose.
But a promise of purpose is still a bird in the bush: it can disappear when you put down the book, or leave the concert hall. For the philosopher Immanuel Kant, art only provides us with an empty sense of purpose; or as he put it, in his distinctively Kantian way, "purposiveness without purpose" (it’s even better in German).
It’s true that few existential crises have been resolved by a trip to the museum or the download of a new album. But Kant may have underestimated how the sense of artistic purpose can also seep into our own lives. For instance, as Plato and every teenager know well, instrumental music can give voice to inexpressible feelings without the help of language. These emotional frameworks can convey a potent sense of purpose. When my youngest daughter spent six weeks in the neonatal ICU with a life-threatening condition, my mind kept replaying the second movement of Beethoven’s seventh symphony to tame my fears. Its somber, resolute progress, punctuated by brief moments of respite, helped to keep my vacillating emotions under control. As in films, sometimes it is the soundtrack that gives meaning to our actions.
The promise of order found in beautiful works of art, then, can inspire us to find purpose in our own lives. The illusion of a world where everything is in its place helps us view reality in a different light. This process is particularly clear -- indeed, almost trivial -- in those humanistic disciplines that do not deal primarily with aesthetic objects, such as philosophy. We aren't attracted to the worldviews of Plato, Kant, or Sartre, purely for the elegance of their formal structure. If we’re swayed by their philosophies, it’s because they allow us to discover hitherto unnoticed patterns in our lives. Sometimes, when you read philosophy, it seems as though the whole world has snapped into place. This is not an experience reserved for professional philosophers, either: at the conclusion of a philosophy course that my colleagues Debra Satz and Rob Reich offer to recovering female addicts, one student declared, “I feel like a butterfly drawn from a cocoon.”
So where art initially appeals to us through intimations of otherworldly beauty, a more prolonged engagement with the humanities can produce a sense of order in the here and now. One could even say that Plato got things the wrong way around: first we’re attracted by an ideal universe, and then we’re led to discover that our own reality is not as absurd as it once seemed. And while particularly evident with philosophy, this sensation of finally making sense of the world, and of your own place in it, can come from many quarters of the humanities. In a delightful interview (originally conducted in French), Justice Stephen Breyer recently exclaimed, “It’s all there in Proust — all mankind!” Other readers have had similar responses to Dante, Shakespeare, Tolstoy, and many more.
But exploring the humanities is not like a trip to the mall: you don't set off to find an off-the-rack outfit to wear. Proust can change your life, but if you only saw the world through his novel, it would be a rather impoverished life. Worse, it would be inauthentic: no author, no matter how great, can tell you what the meaning of your life is. That is something we must cobble together for ourselves, from the bits and pieces of literature, philosophy, religion, history, and art that particularly resonate in us. “These fragments I have shored against my ruins,” T.S. Eliot wrote at the end of The Waste Land. No poem offers a better illustration of this cultural bricolage: Shakespeare answers Dante, and the Upanishads disclose what the Book of Revelation had suppressed.
So here we find an existential rationale for a liberal education. To be sure, the humanities do not figure alone in this endeavor: psychology, biology, and physics can contribute to our perception of ourselves in relation to the world, as can economics, sociology, and political science. But the more a discipline tends toward scientific precision, the more it privileges a small number of accepted, canonical explanations of those aspects of reality it aims to describe. If 20 biology professors lectured on Darwin’s theory of evolution, chances are they’d have a lot in common. But if 20 French professors lectured on Proust’s Recherche, chances are they’d be quite different. The same could be said, perhaps to a lesser extent, for 20 lectures on Plato’s Republic. The kinds of objects that the humanities focus on are generally irreducible to a single explanation. This is why they provide such good fodder for hungry minds: there are so many ways a poem, a painting, or a philosophy book can stick with you.
In his diatribe against the way the humanities have been taught since the '60s, Allan Bloom harrumphed, “On the portal of the humanities is written in many ways and many tongues, ‘There is no truth -- at least here.’ ” But the point of a liberal education is not to read great works in order to discover The Truth. Its point is to give students the chance to fashion purposeful lives for themselves. This is why authors such as Freud, whose truth-value is doubted by many, can still be a source of meaning for others. Conversely, this is also why humanities professors, many of whom are rightfully concerned about the truth-value of certain questions or interpretations, do not always teach the kinds of classes where students can serendipitously discover existential purpose.
There are more than existential reasons to study the humanities. Some are intellectual: history, for instance, responds to our profound curiosity about the past. Some are practical. To celebrate one is not to deny others. The biggest difficulty with defending the humanities is the embarrassment of riches: because humanists are like foxes and learn many different things, it is hard to explain them to the hedgehogs of the world, who want to know what One Big Thing we do well. The danger is that, in compressing our message so it gets heard, we leave out precisely the part that naturally appeals to our future students. Yes, students and parents are worried about employment prospects. But what parents don’t also want their child to lead a meaningful life? We are betraying our students if, as a society, we do not tell them that purpose is what ultimately makes a life well-lived.
Dan Edelstein is a professor of French and (by courtesy) history at Stanford University. He directs the Stanford Summer Humanities Institute.
Brent Sandy, a music professor at the University of Iowa, is facing multiple criminal charges after he reported his university-issued laptop missing and presumably stolen, The Iowa City Press-Citizen reported. The university was able to trace the laptop to Sandy's home. He then confessed, authorities said, to taking the laptop home and reporting it stolen because he was scheduled to get a new laptop and had porn on the existing laptop. When authorities searched his house, they also found a container of marijuana. So Sandy now faces charges related to the false report and the pot.
Faculty members are raising questions about the value of a consultant -- hired for $1.1 million, primarily with no-bid contracts -- at the University of Louisville, The Courier-Journal reported. University administrators say that they are finding ways to save money, and that only some preliminary recommendations have been released. But professors say that the analyses that have been released seem obvious and not worth the money. Some of their examples come in reports stating that the university's “greatest strength is the quality of our people” and that the university “must be globally engaged to be a leading institution of the 21st century.”
Colorado State-Pueblo professor who is outspoken critic of budget cuts sent out an email comparing them to a century-old massacre. Hours later, university took away his campus account. UPDATE: University president cites Virginia Tech and Columbine.
It’s that time of decade again, when randomly selected departments at U of All People are faced with assessment. The administration brings in a posse of NAAAAAA experts with credentials bought from the people who sell fake IDs, and has the faculty entertain them for three days while they poke their noses into everything, including Professor Winkle’s Dryden seminar, which no one has disturbed in years. Here’s how the process works, at least in the English department:
Three months before the assessors arrive, the department is galvanized into action by the chair, acting on directives from the dean, obeying the orders of the provost, who bows to the president. “The assessors are coming, the assessors are coming!” shouts the chair from the comparative safety of the rostrum at the semester’s first departmental faculty meeting while everyone else dives for cover. After this warning shot comes the collective indignation of the faculty -- How dare they judge us? We’re in the humanities! -- as the professors go through the Kübler-Ross stages of denial, anger, bargaining, depression, and acceptance.
When everyone has settled down (except for Professor Winkle, who’s settled in for a nap), the chair starts planning the arduous task of self-judgment. The task consists of recruiting three faculty members who blinked at the wrong time, including Professor Winkle, who opened his eyes after his nap. The disgruntled three are assigned to gauge how much the students aren’t learning from the department’s courses.
What are the standards, criteria, methods? The Renaissance contingent proposes noble goals, such as achieving wisdom and learning to appreciate a Shakespearean sonnet, but no one wants to set the bar too high, or the assessment will be that this department needs to pull up its socks.
The faculty debate setting the bar absurdly low: for instance, that students should learn to read, but there’s no guarantee of students passing that bar, either. After several more meetings and the formation of a committee to oversee the assessment committee, the proposal is that each student should be familiar with the terms literature and irony; must know how to put together an argumentative essay proving that Shakespeare was a great writer; and should have enough literary history to realize that 1800 came after 1564, and that both are before 1922. These arbitrary criteria, once insisted upon, achieve a solidity as satisfying as trompe l’oeil papier-mâché walls.
The methods for data collection are decided by the assessment committee, eager to pass on responsibility to other, unwilling faculty. The methods involve snatching away student essays for disappointed analysis: counting how many times the words in my personal opinion and irregardless appear in the essays, seeing whether the arguments hold water (Professor Winkle performs that job over the sink in the fourth floor men’s restroom), and checking for spelling and grammar, assuming that the faculty are up to it.
As an extra concession, the department tracks alumni/ae to see whether anyone actually used the English major to wangle a job; and contemplates giving an exit exam to department seniors, though the offer of free pizza to anyone who’ll sit for the exam gets only three takers. The sample questions include references to periods, movements, literary terms, authors and works, and seven questions on Dryden. The sample size of all the data varies from a dozen to one faked reply by Professor Winkle.
Other creative assessment methods involve tossing the student essays downstairs to see which go farthest, and throwing the I Ching. To tabulate the results: charts with percentages look good, as do bulleted lists, though the superimposition of one over the other is probably (too late) a poor decision.
Tension mounts till the assessors arrive, at least one in a rumpled brown business suit, all looking as if they haven’t slept since the start of the fall semester. The assessors ask a lot of questions, visit classes, and interview people whom no one ever thought to talk to previously, including Clarice, the custodial supervisor for the liberal arts building. Eventually, they write up a report that recommends a 15 percent reduction in adjunct labor, greater funding for core courses, less departmental internecine warfare, and more attention paid to Dryden.
The report is circulated down the ranks until, months later, it reaches the English department faculty. Since the administration has ignored the implications of the report, the department restricts discussion to only 17 hours, spread out among four faculty meetings.
What rides on all this? Not much till next decade’s visit, when the department scrambles to recall what it did the last time.
David Galef directs the creative writing program at Montclair State University. His latest book is the short story collection My Date With Neanderthal Woman (Dzanc Books).