Sacerdotal Jargon
at Harvard:
Thomas Wolfe
(Harvard M.A., 1922)
versus
Rosalind Krauss
(Harvard M.A., 1964,
Ph.D., 1969)
on
The Kernel of Eternity
"No culture has a pact with eternity."
-- George Steiner, interview in
The Guardian of April 19
"At that instant he saw,
in one blaze of light, an image
of unutterable
conviction....
the core of life, the essential
pattern whence all other
things
proceed, the kernel of eternity."
-- Thomas Wolfe, Of Time
and the River, quoted in
Log24 on June 9, 2005
From today's online
Harvard Crimson:
"... under
the leadership of Faust,
Harvard students should look forward
to an
ever-growing opportunity for
international experience
and artistic
endeavor."
Pauli as Mephistopheles
in a 1932 parody of
Goethe's Faust at Niels Bohr's
institute in Copenhagen
From a recent book
on Wolfgang Pauli,
The Innermost Kernel:
A belated happy birthday
to the late
Felix Christian Klein
(born on April 25) --
Another Harvard figure quoted here on Dec. 5, 2002:
"The theory of poetry, that is to say, the total of the theories of
poetry, often seems to become in time a mystical theology or, more
simply, a mystique. The reason for this must by now be clear. The
reason is the same reason why the pictures in a museum of modern art
often seem to become in time a mystical aesthetic, a prodigious search
of appearance, as if to find a way of saying and of establishing that
all things, whether below or above appearance, are one and that it is
only through reality, in which they are reflected or, it may be, joined
together, that we can reach them. Under such stress, reality changes
from substance to subtlety, a subtlety in which it was natural for
Cézanne to say: 'I see planes bestriding each other and sometimes
straight lines seem to me to fall' or 'Planes in color.... The
colored area where shimmer the souls of the planes, in the blaze of the
kindled prism, the meeting of planes in the sunlight.' The conversion
of our Lumpenwelt went far beyond this. It was from the point
of view of another subtlety that Klee could write: 'But he is one
chosen that today comes near to the secret places where original law
fosters all evolution. And what artist would not establish himself
there where the organic center of all movement in time and space-- which
he calls the mind or heart of creation-- determines every function.'
Conceding that this sounds a bit like sacerdotal jargon, that is not
too much to allow to those that have helped to create a new reality, a
modern reality, since what has been created is nothing less."
-- Wallace Stevens, Harvard College Class of 1901, "The Relations between Poetry and Painting" in The Necessary Angel (Knopf, 1951)
From a review of Rosalind Krauss's The Optical Unconscious (MIT Press hardcover, 1993):
Krauss is concerned to present Modernism less in terms of its history
than its structure, which she seeks to represent by means of a kind of
diagram: "It is more interesting to think of modernism as a graph or
table than a history." The "table" is a square with diagonally
connected corners, of the kind most likely to be familiar to readers as
the Square of Opposition, found in elementary logic texts since the
mid-19th century. The square, as Krauss sees it, defines a kind of
idealized space "within which to work out unbearable contradictions
produced within the real field of history." This she calls, using the
inevitable gallicism, "the site of Jameson's Political Unconscious" and
then, in art, the optical unconscious, which consists of what Utopian
Modernism had to kick downstairs, to repress, to "evacuate... from
its field."
-- Arthur C. Danto in ArtForum, Summer 1993
Rosalind Kraus in The Optical Unconscious (MIT Press paperback, 1994):
For a presentation of the Klein Group, see Marc Barbut, "On the Meaning of the Word 'Structure' in Mathematics," in Introduction to Structuralism, ed. Michael Lane (New York: Basic Books, 1970). Claude Lévi-Strauss uses the Klein group in his analysis of the relation between Kwakiutl and Salish masks in The Way of the Masks, trans. Sylvia Modelski (Seattle: University of Washington Press, 1982), p. 125; and in relation to the Oedipus myth in "The Structural Analysis of Myth," Structural Anthropology, trans. Claire Jackobson [sic] and Brooke Grundfest Schoepf (New York: Basic Books, 1963). In a transformation of the Klein Group, A. J. Greimas has developed the semiotic square, which he describes as giving "a slightly different formulation to the same structure," in "The Interaction of Semiotic Constraints," On Meaning (Minneapolis: University of Minnesota Press, 1987), p. 50. Jameson uses the semiotic square in The Political Unconscious (see pp. 167, 254, 256, 277) [Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981)], as does Louis Marin in "Disneyland: A Degenerate Utopia," Glyph, no. 1 (1977), p. 64.
For related non-sacerdotal jargon, see...
Wikipedia on the Klein group (denoted V, for Vierergruppe):
In this representation, V is a normal subgroup of the alternating group A4 (and also the symmetric group S4) on 4 letters. In fact, it is the kernel of a surjective map from S4 to S3. According to Galois theory,
the existence of the Klein four-group (and in particular, this
representation of it) explains the existence of the formula for
calculating the roots of quartic equations in terms of radicals.
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