Nmherman on Tue, 16 Jul 2002 09:13:02 +0200 (CEST)


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[Nettime-bold] Re: [7-11] Re: RHIZOME_RAW: Re: FW: question

In a message dated 7/16/2002 1:04:32 AM Central Daylight Time, diocletian@visi.com writes:


Education that has content that may jeopardize the attemssibility
to the Harvard Education Online Gnostic Record or Harvard Education
Online Website (due to private use of Internet Control Programs) is
not attemptable on this forum.




Call the undergrad papers and let the kids buy a billion stickers if they want, and see where they stick 'em up, no harm in that, just tree snakes and whatnot.

Vermin bred of the sweat of sloth?  OK man just don't circular file my Master's Dossier like some ignorant dipshit like watchamacallit who was supposed to save my nice paper about Chris Marlowe's "Tamburlaine," visavis Clement Greenberg's "Renaissance Self-Fashioning" re Tambor, ibid qua emptor, Horkheimer and Walter, laughter, but retitled as

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  PÇ    PÇ    dq E  PÇ    PÇ    PÇ    PÇ    PÇ    PÇ   
u Nickolas Herman
Final Paper
English 850:  The Plays of Marlowe
Professor Elliott
May 5, 1996

The Dialectic of Self-Fashioning:  Greenblatt and
the Frankfurt School on the Marlovian Hero



Works Cited:

Adorno, Theodor.  Notes to Literature.  T                    C  L  `  a  b  –  ™    ®  ç  ú  ý  þ     =  H  a  h  j  m  n  o  q  †  š  É  Ö  ø  û    "  %  ;  N  R  S  Z  d  |  —  º  »  Þ  ë  þ        (  :  b  |  ˆ  ‰  ¿  Õ    "  A  B  T  U  V  W  X  Y  Z  [  ½  À  Ü  Ý  ü  ý  a  d  e  Ç  Ê  Ë  -  F  a  Ê  Ý  å   ú÷÷÷÷÷÷÷÷÷÷÷÷÷÷ô÷÷ú÷÷÷÷÷÷÷÷÷÷ô÷ô÷÷÷ô÷÷÷÷÷÷÷÷ô÷÷÷ôô÷÷÷÷÷÷ô÷÷÷ô÷ô÷÷÷÷ ÷î   ëëëëë ÷÷ ÷÷ ÷÷ô÷÷÷÷    P       @     @     ]            C  U  a  b  —  Ä  Å  Æ  Ç  Ô  Õ  k  l  m  n  p  q  µ  ¶      e  f  Ê  Ë  ;  <  ¯  °  ò  ó  U  V  Y  Z  [  ½  ¾  ¿  À  ý  _  `  a  b  c  d  e  Ç  È  É  Ê  Ë  -  i  ÿ    È  Ö  À    +  @  ¢                 ûõõðððêêââââââõõõõÜõõõõõÜõÜõÜõÜõõõÜ×Ò××êâââ×ââââââ×êâââ×â×Ê×××Âââ××ââââââ×                !À ý0à   
!À ý0à  ó                   !À ý0   !À ý0à    !À à   !À     !À ý0   !À  J    
               Þr. Shierry Weber Nicholsen.  New York:  Columbia University Press, 1991. 





Anderson, Benedict.  Imagined Communities.  New York:  Verso, 1991.

Benjamin, Walter.  Illuminations.  Ed. Hannah Arendt.  New York:  HBJ, 1969.

Benjamin, Walter.  Reflections.  Tr. Edmund Jephcott.  Ed. Peter Demetz.  New York:  HBJ, 1978.

Greenblatt, Stephen.  Renaissance Self-Fashioning.  Chicago:  University of Chicago Press, 1980. 

Habermas, Jurgen.  Philosophical-Political Profiles.  Tr. Frederick G. Lawrence.  Cambridge:  MIT Press, 1983.

Horkheimer, Max and Adorno, Theodor.  Dialectic of Enlightenment.  Tr. John Cumming.  New York:  Continuum, 1988.

Howe, Irving.  Politics and the Novel.  New York:  Horizon, 1957.

Marlowe, Christopher.  Complete Plays and Poems.  Ed.  E.D. Pendry.  London:  Everyman, 1976.  





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Tr. Frederick G. Lawrence.   .  Ed.  E.D. Pendry.  London: 

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ







 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ





 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ
In the opening pages of Dialectic of Enlightenment, a book he co-wrote with Max Horkheimer, Theodor Adorno makes an interesting reference to Francis Bacon--perhaps the closest philosophical counterpart of Marlowe the dramatist in terms of chronology and importance.  The reference resonates with implications for any analysis of Marlowe's work:  Adorno writes that "The program of the Enlightenment was the disenchantment of the world; the dissolution of myths and the substitution of knowledge for fancy.  Bacon...had defined its motives.  He looked down on the masters of tradition" (DE 3).  Under this new creed, "Knowledge, which is power, knows no obstacles:  neither in the enslavement of men nor in compliance with with the world's rulers" (DE 4).  Here we see a truly intriguing echo of the Marlovian hero, a Tamburlaine whose imagination conquers the world.  Yet in this new power of the mind, where Bacon saw orderliness and progress, Marlowe saw a vacuum, a bottomless pit, an unchecked consolidation of man's ultimately futile quest for control in an empty universe.  
In this account of the Renaissance's great philosophical product, there is ing echo of the Marlovian hero--one of the age's great literary products--
      Ö 
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 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ (over a world now free of explanatory if inaccurate myths)Adorno can be read as a sort of modern proponent of Marlovian skepticism, in that he analyzes the often disastrous history of the West since the Enlightenment as the result of a falsely self-confident and triumphant Baconian philosophy.  In this essay, I will try to use the interdisciplinary work of Stephen Greenblatt to point out certain connections between

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ(or culturally holistic) parallels between his picture of the Marlovian hero and Adorno's study of the Enlightenment spirit he saw articulated by Bacon.  In this way, I hope to connect the literary foundations of Greenblatt's thesis of a "resolutely dialectical" (RSF 1) process of self-fashioning with the philosophical dialectic Adorno proposes, and

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þphical counterpart topassage to dialectic and suggest the outlines of a cultural process which involves both the philosophical and the literary impulses of the Renaissance.

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ1.  Address four of the main points made by Greenblatt in terms of Frankfurtian (i.e. Benjamin/Adorno/Habermas) concepts.  (10-12 pages)
2.  Address the idea of the dialectic in both Greenblatt and Adorno.  (3-4 pages)
3.  Conclude (1-2 pages)
Total:  16-19 pages

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ

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2.  Address the idea of
dynamic

8-105-6
Marlovian skepticism


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 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ
 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ
 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    ÞGreenblatt sees at work in the self-fashioning process of Marlowe's plays is violence--against the self or the other, physical or intellectual.  The historical account with which he begins his chapter on Marlowe in Renaissance Self-Fashioning is the mundane discovery and buring of an African town by passing English traders.  Greenblatt ties this violent mode of encountering the world to theater, writing that

"the analogue to Tamburlaine's restlessness, aesthetic sensitivity, appetite, and violence...[can be found in] the acquisitive energies of English merchants, entrepreneurs, and adventurers, promoters alike of trading companies and theatrical companies" (RSF 194). 
Clearly Greenblatt wishes to frame the violent qualities of the Marlovian hero within a broader culture in which violence is used to define the self in some way.   Regarding a general cultural attitude as shown in the account of the burnt town, he writes that

"experiencing this limitlessness, this transformation of space and time into abstractions, men do violence as a means of marking boundaries, effecting transformation, signaling closure.  To burn a town...is to make an end and, in so doing, give life a shape and a certainty that it would otherwise lack" (RSF 197). 
As one theatrical expression of this need to conquer, through violence, the "transcendental homelessness" (RSF 196) brought by a world emptied of its comforting myths Greenblatt cites Faustus, who "by violence not on others but on himself, seeks to give his life a clear fixed shape" (RSF 197).  The attempt to negate the void through violent acts on the self or others is clearly central to identity-formation in Marlowe and much of his cultural contemporaries.
The Frankfurt School (centered around Adorno and Horkheimer), and other writers influenced by them (such as Walter Benjamin and Jurgen Habermas) offer numerous illuminating observations on the particular way that violence is used in the definition of self.  The following analysis by Adorno seems almost tailored to the Tamburlaine who boisterously calls "Holla, ye pampered jades of Asia!/ What, can ye draw but twenty miles a day...?" (CPP 105):


 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þpassage of Adorno seems almost tailored fore draw but twenty miles a day/...[With] such a coachman as great Tamburlaine

"The less danger there is for those above [i.e., the conqueror] the more refined the pleasure they will derive from the anguish they are about to inflict.  Domination comes really into its own principle of discipline when the quarry is cornered and desperate.  The fear that no longer threatens the dominator himself explodes in hearty laughter--an expression of the inward obduracy of the individual in himself, who lives his life to the full only in the collective" (DE 112). 
Adorno clearly delineates the connection between the luxuriation in self that Tamburlaine enacts, declaring his name and title as he drives his captives, and the violence against others through which this self has been "fashioned."    (This passage also concretely ties this violently created self to the "gleeful" and anti-social tendency that Greenblatt and others ascribe to the Marlovian hero; for the time being I will focus on the strictly violent aspect of this fashioning of self.)
In addition to placing violence against others in a wider frame, Adorno's work offers a unique insight into the nature and method of violence against the self. 
the anti-social qualities of violence against the self.  In an essay on Adorno, Habermas offers an argument with subtle but strong affinities to Greenblatt's interest in "the consequences for human expression--for the "I"--of a specific form of power" (RSF 6):

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 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ
 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ"The constitution of an I permanently identifying with itself already results, according to Adorno's surmise, from the dissolution of that fluid, sympathetic, and at the same time murderous connection with nature which the sacrifice of the self called for in ritual promised to maintain.  The history of civilization [since the Odyssey and the evasion of myth] arises, then, from an act of violence, which humans and nature undergo in the same measure.  The triumphal procession of the instrumental spirit is a history of the introversion of the sacrifice...no less than it is a history of the unfolding of the forces of production.

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ
The I [of the "original Enlightenment"] acquires its inner organizational form in the measure that, in order to coerce external nature, it coerces the amorphous element in itself, its inner nature....n.  The history of civilizationing of the forces of production" (PPP 100).
In this dense passage, Habermas is describing how Adorno relates concepts of violence and the self during the transition (which Habermas calls the "original Enlightenment," with roots as far back as the Odyssey) from myth to reason or "instrumental" modes of thought.  In order to reverse the power relation under myth, in which the individual must sacrifice himself to an all-powerful external world, the complexity of mythic identity is exchanged for the simplicity of rational identity in which the "I" is merely a means of controlling external nature.  Adorno and Habermas see this "I" as a "coercion" of inner nature, and in this respect an act of violence against the self, yet it remains a source of great power in realizing "the forces of production" (a phrase which calls to mind both the theatrical and economic versions of Greenblatt's violently fashioned Marlovian self or hero). 

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ akin to that demanded by mythic ritual


 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þmanifestations  As Habermas puts it, "Mastery of nature is chained to the introjected violence of humans over humans, to the violence of the subject exercised upon its own nature" (PPP 101).
The use of violence in the creation of self  takes on a uniquely intellectual (in fact, linguistic) cast in Greenblatt's discussion when he deals with the propensity the Marlovian hero has for a theory of language akin to ancient Gorgian rhetoric.  Whereas Platonic rhetoric combines logic with the communicative setting of dialogue, the Gorgian model emphasizes "the magic violence of speech" (RSF 215).  Because words are not "the thing itself" but only images of things, Gorgias argued, "if anything exists...it is both incomprehensible and incommunicable" (RSF 215).  This condition imposes an order in which deception is the rule and "the very essence of the creative imagination" (RSF 215).  (This model, in which the distinction between the "sign" and "referent" (word and thing) is viewed as a form of violence and the basis for "deception" or illusion's primacy over communication, shares both of these principles with much postmodern/ poststructualist theory.)  Not knowing Plato's reply to Gorgias's argument, the case might still be made that the distinction between word and thing need not necessarily be construed as "violent" anymore than is the distinction between air and water; moreover, words' status as an "illusory" reflection of the world remains intact whether that illusion is generated in a manner governed by manipulative and secret or honest and altruistic language use.  In any case, Greenblatt posits a connection among a figurative violence, deception, and the rhetorical self in the Marlovian hero's theory and practice of language.

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 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    ÞGreenblatt's skepticism about this rhetoric grounded in violence is reflected in his characterization of its use in Marlowe's heroes as a means of achieving "absolute play," which is "play on the brink of an abyss" (RSF 220).  To take such a view of the rhetorical self to its extreme limits is an act that "courts self-destruction," and in this association of the subtle violence of a Gorgian rhetoric with personal annihilation Greenblatt implies that such a view of language can lead to the tragic loss of social functioning.  (Such a message may well be implicit in Marlowe's literary vision itself.)  Although the epistemological questions involved with langauge and the self are broader than the scope of this paper, I would like to place Greeblatt's interpretation of "violent" rhetoric in the context

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    Þ" rhetoric in the context of two related passages, one of Adorno and one of Benjamin. 
Adorno writes of Homer's Odysseus that "In the untruth of artifice, the deceit posited in sacrifice becomes an element of the character, a mutilation of the 'buffeted' hero himself" (DE 56); clearly the "deceitful" or Gorgian view of language is here associated with mere survival, a necessary "mutilation" which accompanies the desperate shift from myth to an instrumental reason or cunning. 

 ÿÿÿÿÿÿÿÿÿÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿ       ÿÿÿÿÿÿÿÿÿÿÿÿÿ        ó ô   ö                    ÞHere the rhetorical self based on deceit is agreed to be one which involves violence, but the violence is not innate to language but rather the result of a self formed in the costly struggle against myth and in favor of reason.  Benjamin in fact contends that "there is a sphere of human agreement that is nonviolent to the extent that it is wholly inaccessible to violence:  the proper sphere of 'mutual understanding,' language" (WBR 289).  The issues raised here are multiple and complex, yet it is clear that the Frankfurt School's interest in language, violence, and the self are closely akin to those issues as Greenblatt pursues them in his study of self-fashioning in Marlowe.

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