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MINI-SYLLABUS: THE PHILOSOPHIES OF HOSPITALITIES: LEVINAS, DERRIDA & CIXOUS

The Green Library 青龍 Blue-Green Dragon

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Waiting For The Messiah: Derrida And The Philosophy Of Hospitality (2/1/2021 at 3 Quarks Daily)

It is as though hospitality were the impossible: as though the law of hospitality defined this very impossibility, as if it were only possible to transgress it, as though the law of absolute, unconditional, hyperbolical hospitality, as though the categorical imperative of hospitality commanded that we transgress all the laws (in the plural) of hospitality, namely, the conditions, the norms, the rights and the duties that are imposed on hosts and hostesses, on the men or women who give a welcome as well as the men or women who receive it. And vice versa, it is as though the laws (plural) of hospitality, in marking limits, powers, rights, and duties, consisted in challenging and transgressing the law of hospitality, the one that would command that the “new arrival” be offered an unconditional welcome--Derrida

Course Description

Hospitality is a notion that most people are familiar with. An everyday word for an everyday experience. Why, then, has it become a burning topic in philosophical and political debate in recent decades? Judith Still in her book Derrida and Hospitality suggests reasons for this could include debate surrounding immigration into Europe and elsewhere. It is also loosely connected to issues of colonialism and post-colonialism. And finally, she suggests, there is its co-opting by consumer culture brands and the service industry.

This course is designed to consider the philosophies of hospitality in the work of Derrida, Levinas, and Cixous: French philosophers knew a thing or two about being an outsider. Each hailed from counties outside of France—from North African lands, and in the case of Levinas, Lithuania. In order to understand underlying notions, we will try and understand how these three philosophers themselves navigated issues of inside and outside, native and Other. In addition, as all three thinkers have Jewish backgrounds, we will try and uncover ways hospitality found in the Torah informed their thinking.

As a class, each week we will sit down to a shared meal together. Student grades will be based entirely on the creation and implementation of a shared meal. That’s right, you will be hosting a shared meal at which fellow students will act as guests. During the meal, the host for that week will bring up challenges they faced in the creation of their meal. In the Sikh langur, for example, vegetarian food is prepared. Vegetarianism in the Sikh religion is not mandatory, but vegetarian food is prepared in the communal kitchens to ensure the greatest number of people can partake. Priya Basil in her book, Be My Guest, has written how difficult it was for her to stop serving meat. Not that she likes meat as she is a vegetarian herself. But so ingrained was the notion of “giving the best’ to guests that she worried that she would appear mean or stingy. Students must keep in mind that in many traditional cultures, hospitality is considered a moral virtue and the best foods and beverages are reserved for guests. There are even times when people are willing to go into debt in order to show hospitality.

During the shared meal, student hosts will lead a conversation about their own personal histories of being hosts and guests; their perceived status as insider or outsider; they experience of storytelling, family recipes and shared meals. These conversations should be clearly informed by the class readings, and any other optional reading that students’ engaged with; such that, by the end of the class, we will have compiled a set of case studies.

We will watch the film Babette’s Feast in our last meeting. If time, we will also watch Michael Pollen’s documentary Cooked.

Discuss: The time spent with family and friends around the table is more precious than anything in the world. It does somehow seem sacred or at least what life is and should be about. For as Michael Pollan says in his film, Cooked, “This is more important than people realize.”

Topics to consider:

  • What is the role of meals vis-à-vis today’s prevalence of identity creation based on consumer choice and other preferences is not coming at the cost of communal cohesion. This is to discuss what are the obligations of being a guest.
  • Compare and contrast the host-guest relationship within the home and between people versus that between nation-states and cultures
  • What do we owe refugees? Discuss in terms of Derrida’s Parasite/Guest
  • Discuss examples from around the world, ie: The Sikh Langar—where all are welcome to partake in the communal meals and serve in the temple kitchens; Germany’s “We can do this” campaign; storytelling between Palestinian and Israeli youths
  • How is “hospitality” related to traditional/religious notions of sacrifice, gift-economies, Heidegger’s notion of “care,” Girard’s “Scapegoat,” and virtue ethics in general?

Main Pedagogies: Embodied Ethics, Deconstructionist, Process

BOOKS

  • Priya Basil’s Be My Guest: Reflections on Food, Community and the Meaning of Generosity
  • Judith Still, Derrida and Hospitality
  • Andrew Shepherd’s The Gift of the Other: Levinas, Derrida, and a Theology of Hospitality
  • Of Hospitality: Anne Dufourmantelle Invites Jacques Derrida to Respond (Cultural Memory in the Present) by Jacques Derrida, Anne Dufourmantelle
  • Word to Life: A Dialogue between Jacques Derrida and Helene Cixous
  • Girard’s Scapegoat
  • Deconstruction in a Nutshell: A Conversation with Jacques Derrida (Perspectives in Continental Philosophy) 
    by John D. Caputo

OTHER RESOURCES

  • Eat up you'll be happier
  • Chef's Table with Massimo Battura (Trailer)
  • com with Chef Battura
  • Michael Pollan's Cooked
  • Babette’s Feast

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Mini-Syllabus: How to Talk about Wine like a Japanese Tea Master

Unnamed

 

How to Talk about Wine like a Japanese Tea Master

A poet once said, 'The whole universe is in a glass of wine.' We will probably never know in what sense he meant it, for poets do not write to be understood. But it is true that if we look at a glass of wine closely enough we see the entire universe. There are the things of physics: the twisting liquid which evaporates depending on the wind and weather, the reflection in the glass; and our imagination adds atoms. The glass is a distillation of the earth's rocks, and in its composition we see the secrets of the universe's age, and the evolution of stars--Richard Feynman

Course Overview

This course aims to uncover new ways of talking about wine. We will do this in order to elevate not only our wine drinking experience but to arrive at greater harmony in our lives. This will require that we deconstruct --and perhaps totally dismantle --older ways of talking about wine in order to discover more interesting and perhaps more enlightened ways of spending our time. These ways might include a better appreciation of the seasons and the craftsmanship of wine, as well as character cultivation in terms of refining our tastes and developing greater equanimity. Anyway, it can't hurt.

It must be said, there is no right or wrong way of talking about wine. In order to arrive at a style that is a good personal fit, we first need to be aware of the various historic ways that people have talked about the organoleptic characteristics of wine. We will then look at other traditions of connoisseurship -- beginning with the Japanese tea ceremony--to see if there are not lessons to be learned. These lessons might include concepts such as seasonality, focus on the present moment, attentiveness to the unique experience, utilizing all five senses, listening to the voice within, and an acceptance of ephemerality.

Questions to coinsider:

  • How are the descriptive and evaluative vocabularies changed over time?
  • Is there a corporate coopting of artisanal wines? What are the social implications of the corporatization of wine? 
  • Is there "wine as resistance?" 
  • Do wine makers really produce two kinds of wine? One for drinking locally and one for the international (American) market?
  • Who is this person Robert Parker? And why do some people believe he must be stopped?
  • What is terroir? 
  • How is memory tied to heightened attention and mental associations 
  • What is a memory palace?
  • What can the cultural values of tea ceremony teach us? 
  • Can wine be a spiritual practice like tea?

Main Pedagogies:   Each student will develop their own language to talk about wine and will use this vocabulary to construct a wine journal, in which they begin to develop their own architecture of memory. It could be wine as season, wine as almanac, wine as paintings, wine as galaxies. Poetry drinking games and other tasting competitions are also encouraged.

In doing so, students will attempt to uncover what "terroir" means to them and to find tools for elevating their enjoyment of fine wine. In the end, students are encouraged to play around. (See: Playing Around (लीला)

Wines under consideration

  • French, Austrian, Spanish, and Italian artisan wine (Future classes will explore different regions in the Old World) 
  • Amphora Wine from Sicily and Georgia
  • Amber wines (wine as resistance) 
  • Historic and esoteric grapes, like the RESSURECTED Golden Dorona of Venice and Hamdani, Jandali, and Dabouki 
  • Compare bottle shapes (See page61 &69 in History of Wine in 100 Bottles)

Wine Chronicle (Sample)

Summer 夏

  • Etna Bianco, Etna Rosso [Curtaz, Occhipinti, and COS]
  • Amphora Wine [COS]
  • Qveri wines:  Baia Wines "Live and Let Live" ; Budshuri
  • Venissa Wine Bianco

Autumn 秋

  • Distinguish barolo versus barbaresco SOIL variety (Gaja)
  • Distinguish: Sangiovese, Nebbiolo and Aglianico GRAPE varieties,
  • Distinguish SOIL Sancerre versus Pouilly-Fumé 
  • Comparative Tasting, Chardonnay and Pinot Noir from Domaine Drouhin Oregon and Maison Joseph Drouhin in France
  • Amber Wines (Garganea "Lazaro")
  • Tuscan "Oregano hills" il Borro
  • Sicilian nero d'avola (Occhipinti) also Tenuta Regaleali Tasca d'Almerita 
  • Challenging: Historic grapes Cremisan 

Winter Christmas 冬

  • Burgundy〜 all winter long
  • Christmas Amarone
  • Bordoux versus Burgundy REDS

Spring 春

  • Resurrection/Easter: Resurrected Dorona Grape Venissa Rosso and VILLA DEI MISTERI ROSSO POMPEIANO
  • RADICI TAURASI DOCG Aglianico 100% (Also by Mastroberardino) 
  • Grüner Veltliner
  • Gewürztraminer 
  • Zweigelt
  • Alsace Riesling, Pinot Blanc, Gewurztraminer  (Tribach)

Moonview お月見 Sublime

  • Torres Mas La Plana Cabernet Sauvignon
  • Torre Muga Rioja
  • Halos de Jupiter Chateauneuf du Pape

READING: Main Texts

  • Noriko Morishita's Every Day is a Good Day: 15 Lessons I Learned about Happiness from Japanese Tea Culture  
  • Lawrence Osbourne's The Accidental Connoisseur: An Irreverent Journey Through the Wine World
  • Terry Theise's Reading Between the Wines
  • History of Wine in 100 Bottles
  • Simon Woolf's Amber Revolution
  • Kevin Begos' wonderful Tasting the Past: The Science of Flavor and the Search for the Origins of Wine

Other Reading

  • Lawrence Osbourne's The Wet and the Dry: A Drinker's Journey  
  • Alice Feiring's For the Love of Wine: My Odyssey Through the World's Most Ancient Wine Culture

Articles

  • This 25-Year-Old Winemaker Is Making Some of Georgia’s Buzziest Wines
  • Wet Dogs and Gushing Oranges
  • Tastes of Wine: Toward a Cultural History
  • The Power of Terroir in Sicily's Volcanic White Wines
  • Zibibbio in Pithos, COS, 2016

Watch the movie Mondovino

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MINI-SYLLABUS: WHEN FREUD MET THE ANTICHRIST AT ORVIETO:

Best grotesque

Freud’s Signorelli Parapraxis & Luca Signorelli’s Renaissance Masterpiece the End of Days

 The Signorelli parapraxis represents the first and best known example of a parapraxis and its analysis in Freud's The Psychopathology of Everyday Life. The parapraxis centers on a word-finding problem and the production of substitutes. Freud could not recall the name (Signorelli) of the painter of the Orvieto frescos and produced as substitutes the names of two painters Botticelli and Boltraffio. Freud's analysis shows what associative processes had linked Signorelli to Botticelli and Boltraffio. The analysis has been criticized by linguists and others."--Wikipedia

You are brought to total, 100 percent attention. The impact of the frescoes is that of three shots of espresso, a bar of intense dark chocolate, and a double dose or Ritalin—all consumed simultaneously. – Nicolas Weber Fox

Course Overview

This course aims to uncover the meaning of Freud’s famous Signorelli Parapraxis. We will do this by first reading what Freud himself said about “what happened at Orvieto,” and then we will take a look at what other thinkers have written about the incident.

Sigmund Freud traveled to Orvieto in September of 1897. It was mere months after the death of his father, when he was still in the early days of his own self-analysis. He would later pronounce the frescoes, “The finest paintings I have ever seen.”Not only would Orvieto be one of the most significant pilgrimages of his life, but it would make a profound mark on his work, in the theory of repressed memories.

Has that ever happened to you? Where, not only do you forget a name or a person's face, but another image floods into your mind, making it doubly hard to recall the forgotten person or thing. The way we sometimes substitute one name for another is known to us today as Signorelli Parapraxis. A form of “Freudian slip,” it transports us back to the days before Google, when people used to get tripped up by temporary forgetting, mis-readings and mis-writings. Nowadays, we just grab our mobile phones and “google it!” –when someone can’t come up with a name. But back in Freud’s day, people had to wait it out until someone could help them remember --or the person finally recalled the name for themselves. This was the origin of the Signorelli Parapraxis: when a year after seeing the frescoes in Orvieto, Freud, in casual conversation with someone he had met on a train, was unable to remember Signorelli’s name. He could visualize the colors and figures in the frescoes, but for the life of him, he couldn’t recall the name of the painter. It took several days, which Freud described as being an “inner torment,” before he remembered the Signorellis name.

But how could Freud forget the name of his favorite painter?

Engaging the texts and the frescoes, we will seek to come up with our own creative understanding of how great works of art can exert a profound power over us. Seminar components will include weekly reading responses and contemplative writing experiments about memory and art. There are no exams or final papers, as our focus will remain on discussions.

Main Pedagogies: Creative thinking, deep reading and embodied looking, as opposed to seeing, works of art.

Extra Credit: I’m really interested in comparing Signorelli's frescoes to Bosch's Garden of Heavenly Delight in terms of Carlos Fuentes novel Terra Nova. In the novel, we see the Orvieto frescoes flying off the walls of the cathedral in Orvieto and landing as paintings in El Escorial, where Philip II proceeded to gaze on them and obsess on them. In real life, Philip II ordered the Garden to be brought to the Escorial so that he could meditate on the painting as he lie dying. A perfect choice. So we need to consider why Fuentes felt the need to swap Garden for the frescoes. What does this say about Signorelli’s frescoes? 

Artworks under consideration

  • Luca Signorelli’s frescoes of the Last Judgment in Orvieto Cathedral
  • Michelangelo’s Last Judgement Sistine Chapel
  • Bosch’s Garden, Prado
  • Albrecht Dürer’s 1500 Self-Portrait and Leonardo’s Salvator Mundi (1500?)

 

Personae Dramatis

  • Sigmund Freud (The Great Man)
  • Luca Signorelli (Artist at Orvieto)
  • Fra Angelico (First artist to work on frescoes)
  • Piero della Francesca (My favorite Artist & Signorelli’s Teacher)
  • Michelangelo (Artist & person of interest)
  • Nicolas Fox Weber (Author of class main text & person of interest)
  • Maud Cruttwell (Author of first monograph &person of interest)

Main Texts:

  • Freud, S. The Psychopathology of Everyday Life, chapter 1, "Forgetting of Proper Names"
  • Freud’s Trip to Orvieto | Nicholas Fox Weber
  • Artist Monograph: Life and Art of Luca Signorelli | Tom Henry

FURTHER READING

  • Seen from Behind: Perspectives on the Male Body and Renaissance Art | Patricia Lee Rubin
  • Luca Signorelli --written in 1899 (to enjoy how different art history was back then) |Maud Cruttwell
  • Luca Signorelli: The San Brizio Chapel, Orvieto |Jonathan B. Riess
  • The Renaissance Antichrist: Luca Signorelli's Orvieto Frescoes |Jonathan B. RiessHow Fra Angelico and Signorelli Saw the End of the World
    by Creighton E. Gilbert
  • Jo Walton's novel, Lent and Confessions of the Antichrist (A Novel) |Addison Hodges Hart
  • The Etruscans |Lucy Shipley
  • Dante's Journey to Polyphony |Francesco Ciabattoni
  • Notes from an Apocalypse |Mark O’Connell’s

Articles

  • Forgetting Signorelli: Monstrous Visions of the Resurrection of the Dead , MARGARET E. OWENS Source: American Imago, Vol. 61, No. 1, Picturing Freud (Spring 2004), pp. 7-33 Published by: The Johns Hopkins University Press Stable
  • Sign/or/Sigm: Freud and the Name of Signorelli by Hubert Damisch

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