"Our Time of Troubles... commenced with the catastrophic events of the year of 1914... Our civilization has just begun to recover." - Arnold Toynbee

Tuesday, November 13, 2012

Evening November Pictures

An evening walk...






A peaceful country home






 Aspen tree









Another Aspen (the largest trunk)

 Canadian geese (we go south to get to Canada, through the Detroit area that is, haha).




The patriarch oak of our home, Oak Chapel

 The patriarch oak trunk, with moss growing on the north side.

 A warm hearth to return to.


Monday, November 12, 2012

Cold November Gales of Michigan



I stumbled across these words today in Walter Scott's Lord of the Isles, and cannot help thinking of my native Michigan where "the gales of November come early." A strong Westerly wind has blown all day today, and tonight is our first real bit of snow of the season. I'll update some morning pictures to this post. Maybe it will stick!

 Autumn departs, but still his mantle's fold
Rests on the groves of noble Somerville,
Beneath a shroud of russet dropp'd with gold,
Tweed and his tributaries mingle still;
Hoarser the wind, and deeper sounds the rill,
Yet lingering notes of silvan music swell,
The deep-toned cushat, and the redbreast shrill:
And yet some tints of summer splendour tell
When the broad sun sinks down on Ettrick's western fell.

Autumn departs, from Gala's fields no more
Come rural sounds our kindred banks to cheer;
Blent with the stream, and gale that wafts it o'er,
No more the distant reaper's mirth we hear.
The last blithe shout hath died upon our ear,
And harvest-home hath hush'd the changing wain,
On the waste hill no forms of life appear,
Save where, sad laggard of the autumnal train,
Some age-struck wanderer gleans few ears of scatter'd grain.

Deem'st thou these sadden'd scenes have pleasure still,
Lovest thou through Autumn's fading realms to stray,
To see the heath-flower wither'd on the hill,
To listen to the wood's expiring lay,
To note the red leaf shivering on the spray,
To mark the last bright tints the mountain stain,
On the waste fields to trace the gleaner's way,
And moralise on mortal joy and pain?
O! if such scenes thou lovest, scorn not the minstrel strain.

No! do not scorn, although its hoarser note
Scarce with the cushat's homely song can vie,
Though faint its beauties as the tints remote
That gleam through mist in autumn's evening sky,
And few as leaves that tremble, sear and dry,
When wild November hath his bugle wound;
Nor mock my toil, a lonely gleaner I,
Through fields time-wasted, on and inquest bound,
Where happier bards of yore have richer harvest found.

P.S. Well, the snow did not stick much, but here some prime examples of the wooded wilds of Michigan in the cold November of the year. Father, the patriarch of our family, has named our home Oak Chapel.


Our sylvan arch. In the greenwood, ivy winds around it, forming a trellis gate into our back woods.

Some snow on the leaves.

 The cut into the heaths behind our home.

 Ah, the clouds have parted after last night. Perhaps a sunny day is ahead of us. (Usually, a dull blue-gray covers the sky in Michigan from October to March. Michigan is one of the most cloudy states in the Union).

The roaring "white" birch (technically "gray"). In the summer, the aspen and birch sing together like falling rain in a golden light.

Turning behind to the East, the Sun rides up over the shoulders of the land.

The purple heath.

 The wall of birch on the left

 The hay field. Long grass is cut every year from this field, and Queen Anne's Lace blooms among the hay.

 I quite often stand at this rise in the heath and muse on my tasks, rest in the quiet of the land, or determine the course of the wind. On the left, you may see some domicile carved into the recesses of the trees against the coming of the feared North Wind. Looking to the north...

The south...

The east...

The west...

A little birch in a grove

In these woods, the trees spread out a little more.

The knotted birch

Hope springs eternal... A remnant of the greenwood.  

God's home for some little creature, no doubt.

The "paternal hearth" once more.

Post-Modern Deconstructionism


If any fell wind of dark philosophy will winter the Christian culture of the West, it will drift for the dark towers of post-modern deconstructionist thought. Truly seductive is its grip on our world, and its sway is imperceptible because of its complexity. Michael Foucault is known as its chief architect, and below is a summary of his book Madness and Civilization, which I have written for class tonight. Here is the Mordor, the "bear and leafless day" into which I must sojourn to bring the light of God's truth to the abandoned academic halls of knowledge in the West. Though it only be autumn for the rest of civilization, my Providential journey leads through the frozen paths of "madness" in the strongholds of the Enemy. May Christ's Word be a "light to me in dark places, when all other lights go out." Pray for my courage.

P.S. Class went great tonight! My professor and classmates were dissatisfied with Foucault, and this gave me much opportunity to point out the flaws in his argumentation. While I am sure I will face much difficulty from the effects of deconstructionism in the future, as indeed we all do now that it is culture, I am ever trusting the the grace of Jesus Christ for my hope and the hope of the world, both in this Age and in the Age to Come.

Assignment V: Foucault: Madness and Civilization

Scope

Post-modern deconstructionism in Foucault's Madness and Civilization serves as a critique of the construction of ideas and interpretations in civilizational and contra-civilizational motifs. Foucault denies the essence of “terminal truths” in historical events, and moves the emphasis of historical analysis to a search for paradoxes of impressions in human perception (ix). His work seeks to describe prejudices of civilizational segregation of the insane, and inverts the conceptualizations of both Western rationality and its designated “other,” madness, in order to discover constructs of civilization within madness and madness within mainstream civilization. Only after Western civilization consciously adopted the philosophy of its own antithesis to rationality with Nietzsche and Freud was the irony of its paradox lessened but did not assure sincerity, so concludes Foucault (278, 286-289). The extent of Foucault's intellectual history of insanity encompasses not only the conceptualizations of civilization, but also of human perceptions of humanity itself, of masculinity and femininity, and of minority status.
In Faucault's estimation, from its origin, Western civilization has always framed itself against a form of contra-civilization or irrationality to its own construction of reason, and he cites the expulsion of lepers from society as an example. He argues that the Church expelled lepers from civilizational participation either through confinement or distance. Forced sea voyages represented both imprisonment and the openness of distance from social belonging. Long after leprosy declined, the rules for social expulsion remained, and as the Renaissance dawned, the category of madness grew into a place-holder for the civilizational opposite and a substitute for the imagery of death in literature and Apocalyptic iconography (6-7, 13, 16, 22-23). Here, argues Faulcault, madness entered the mainstream of ecclesiastic art in its inverse. Rather than ill preparedness for the end of the world being a sign of madness, madness served as a sign for the end of the world. Subsequently, madness infused art with “romantic identification,” a reach for human imagination outside the ordinary (17, 28-29).
The Classical Age quickly silenced the liberated voice of madness of the Renaissance by relegating madness to confinement during the middle seventeenth century. For example, Louis XIV founded the Hopital General in 1656 to confine the poor, unemployed, prisoners, and the insane (39). These undifferentiated masses were given up to sensibility in stark contrast to the privileges of Reason. According to Enlightenment diagnosis, women were most prone of hysteria of love within sensibility (45, 139-140). In accord with Catholic and Classical Western tradition, these insane were assigned to labor for moral enchantment and remedy of illness. Nevertheless, by relegating madness to the realm of the “secret,” authorities experienced the counteraction of shame for the insane which was unknown during the Renaissance, provoking an irony of regret (55, 68). Passion formed the basis for philosophical possibility of insanity, and in Diemerbroek's exploration of insanity, madness depended on melancholy. Yet underneath Diemerbroek's concept for melancholy, Foucault perceives a secret discourse of logic which connects melancholy with insane actions, such as murder. Foucault explains, “Under the chaotic and manifest delirium reigns the order of a secret delirium. In this second delirium, which is, in a sense, pure reason, reason delivered of all the external tinsel of dementia, is located the paradoxical truth of madness” (88, 96-97). In Classical interpretations of insanity, Foucault sees Pinel describing madness as a transcendence of moral nature in which the anti-nature of madness may not longer be made into unreasonableness, being interpreted within the scheme of the moral. This served as a catalyst for the psychology of the nineteenth century, whereas during the Classical age, pure physical treatment of the subject did not exist and discourses on madness divided between the “transformation of qualities” addressing madness as a phenomenon of nature and the “restitution of truth” which signified madness as unreason (197).
With the institution of asylums, confinement became more sympathetic but not liberating for insanity. Nevertheless, Faucault claims the nineteenth century asylum moved beyond absolute contradiction (as in the Age of Reason) to a form of mere minority status. Freud turned the tide by directly addressing the physician-patient paradigm, and in so doing eradicated asylum structures, madness's conceptualization of itself, and its own condemnation. Yet, Freud's diagnosis did not dispel the essential alienation of insanity; the doctor still remains in psychology a condescending and alienating figure to the estranged “subject” (252, 277-278). After Nietzsche's view of tragic art, madness artistically worked beyond its limits of danger into the realm of fulfillment, but still signaled judgment. As Foucault describes, “the moment when, together, the work of art and madness are born and fulfilled is the beginning of the time when the world finds itself arraigned by that work of art and responsible before it for what it is” (288-289).
Causation
Human subjectivity drives the formations of historical record in Foucault's deconstructionism. The initiation of ideas within certain codified systems of mores immediately begs into question the existence of counter-ideas in the irony of the opposite. In civilization, Foucault fishes out the notion of the “other,” and in this “other,” Foucault concerns himself with the constraints of the mainstream. For example, he assigns causation to passion (as a human label) in the stereotyping of madness (as a social conclusion to that label), but only within the limited perception of its period. Foucault always perceives a bitter irony in the narrowness of such perceptions: “Madness, which finds its first possibility in the phenomenon of passion, and in the deployment of that double causality which, starting from passion itself, radiates both toward the body and toward the soul, is at the same time suspension of passion, breach of causality, and dissolution of the elements of this unity” (88-91). Foucault replaces universal causation with the causations of perception, but how might post-modern criticism move past its own subjective constructs to critique the perceptions of the past in an applicable way? Foucault assumes universality in his epistemological method, but does not grant it metaphysical legitimacy.
Progress
Progress, whether civilizational or otherwise cannot stand above the dilemma of power in the self/other paradox. Social progress necessarily implies a movement upward from a “backward other,” whether it be a form of social organization or a particular sect of society, and post-modernism cannot afford to positively espouse such mobility. Yet, Foucault needs some form of liberal justice in order to discuses the confines of civilizational arraignment and responsibility (289). He implies civilizational injustice in his construct of the “other,” and so pleads for progressive reversal. The humorous irony of the implicit irony within post-modern deconstructionism is that it demands a reversal of the backward label, but it cannot do so without asking civilization to label another form of itself as backward.
Trajectory of History
History is a continuous line of impressions, in which continuity only exists within the framework of conceptualization itself. For such deconstruction, historical inquiry may only validly analyze the interpretations of source-work and not the actual events, because to do otherwise would be to assume some universal legitimacy in the source-work. History is historiography for the post-modern history.



Saturday, November 10, 2012

Thesis Correspondence XIV: Plutarch


Dear Dr. Weinstein,

I thought I'd brush up on some classical history, so I quickly read this edition* of Plutarch's Lives of the Noble Grecians and Romans and took about 10 pages of notes. I was surprised at how much the oak symbol played out in classical politics. This does not mean any political connection to the Stuarts' usage of the oak, but it may allow me to suggest some cultural consistencies in concepts of classical images in Western statesmanship. Considering that I read a revised edition of Dryden's translation, I am even more attentive to Charles II's classical court revival (Dryden was Charles II's court poet). Before Christmas break I still need to finish Brus, read Scott's Lay of the Last Minstrel, get Brown's book, and find as much Royalist club sources as I can.

Wesley

*Plutarch. The Lives of the Noble Grecians and Romans. Translated by John Dryden. Revised by Arthur Hugh Clough. New York: The Modern Library.

Tuesday, November 6, 2012

Thesis Correspondence XIII: Replies

 I often walk by this magnificent structure, Warriner Hall, administration building at CMU (click on photo to look at it up close).





Here is an email reply from Dr. _____, regarding my thesis prospectus:

Have you looked at Keith Brown’s Noble Power in Scotland from the Reformation to the Revolution (2007)?

My reply:

Wow, from a summary, it seems to explain the principle that I've seen in the Stuart correspondence: namely that the Stuart monarchy expected more loyalty in the Scottish rather than English nobility (and particularly Highland culture). I want to further say that the Stuarts wished to restore the feudal pageantry (or decorative culture) of the power of the Scottish lords, hence the Classic myth making of "ancient kingdom" building.

I'll get the book, and read it. Talk with you soon!
Wesley

Friday, November 2, 2012

Thesis Correspondence XII: Thesis Prospectus


I am frequently in this building, Powers Hall, the History Department's home at Central Michigan University.

And here's the beautiful ballroom inside:



Dear Dr. Weinstein,

Well, at long last, I have got a description and thorough outline with source material footnoted together and ready for your review. I took quite a lot of citation shortcuts, but as you will see, this became very complicated real quickly. Might we meet to discuss this on Wednesday 2-3pm (Nov. 7)? I'm curious to know what you think of it, and who might be interested in joining a review committee for the project.

Enjoy,
Wesley
[Dear readers, for ownership reasons, I do not wish to post my prospectus online. However, just send me an email (see my bio description to the right), and I will email it to you. I know I have friends on here that I can trust.]