Sunday, 2 October 2022

The Books of My Life: Petrified Campus

Though the University of Toronto clinical psychologist Jordan Peterson became something of an academic pop star who could sell out "arenas" in Canada, the US, and the UK in the second and third decades of the twenty first century, he was not the first critic of political correctness, a trendy new term for something almost as old as civilisation itself, orthodoxy and consequent censorship or, to use that other current trendy phrase for censorship, cancel culture. Nor was Peterson the first person to imply that his views and those of his devotees was politically, economically, culturally, geographically, and demographically correct. The monotheistic religions of Judaism, Christianity, and Islam, for example, all claimed to have a monopoly on truth, making them purveyors of what we would call political correctness, for millennia. Needless to say these chosen people were not afraid to target those who disagreed even torturing and killing them in the name of "compassion". 

In the modern era the virtually universal human condition of ethnocentrism has taken on a variety of political and ideological guises. The use of the phrase political correctness, historians on the subject of political correctness inform us, goes back to at least 1917 when the Bolsheviks used the phrase to describe those committed true believers of the Bolshevik cause. In the 1930s Nazis were accused by the American quality press of claiming that only to its chosen people, politically correct Aryans in this case, were correct in politics and ideology. In the 1940s socialists accused communists of the era of being characterised by the notion that they and only they were ideologically correct. Lenin and Stalin, it should be noted, did claim to be the high priests of the one and only true holy orthodox religion of communism, a notion that many Western anti-communists, somewhat ironically, bought into. In the 1970s the American New Left used the term as emblematic of a reflexive strategy to avoid any drift toward orthodoxy. In the 1980s University of Chicago English professor Alan Bloom accused the academy of being in thrall to a left wing orthodoxy. 

In the wake of Bloom a number of conservative and right wing intellectuals began claiming that political correctness had become dominant in universities and colleges all across postmodern American and the Western world, using the term as a synonym for things like the intellectual attempt to expand the historical curriculum, the intellectual attempt to expand literature reading lists, and the increasingly retail like strategies of college administrators, all of which, they claimed, were liberal, left wing, socialist, and communist in origin. For these selective right wing critics there was a liberal, left wing, socialist, and communist movement or conspiracy afoot to remake the Western world in its own ideologically correct image, an image that demonised the West for its imperialism, racism, sexism, and classism. 

Eventually, of course and not surprisingly--politics is a contact sport after all--conservative and right wing politicians and polemicists picked up their anti-politically correct crosses and used them, if selectively, in a politically correct way, to bash its social liberal cousins in a form. This conscious demagogic strategy, one learned from forebears like those purveyors of state propaganda and capitalist Madison Avenue propaganda, proved to be quite effective in many cases since it played, as did demagogues before them, on mass emotions like fear and anger. 

Jordan Peterson, who has become a saintly martyr to many of his politically correct devotees, was not, as I noted, the first person to claim that conspiratorial and tyrannical political correctness had taken over universities in the Western world. He was not even the first to make such a claim in English Canada for in 1984 three well known and and highly respected Canadian academics, University of Calgary historian David Bercuson, University of Toronto historian Robert Bothwell, and  York University historian J.L. Granatstein, argued, in their polemic The Great Brain Drain published by McClelland and Stewart, that political correctness had put, as the subtitle of the book claimed, Canadian universities on the road to ruin. 

Bercuson, Bothwell, and Granatstein continued their polemic against political correctness in Canada, along with other aspects of post-World War II Canadian universities, in their 1997 book Petrified Campus: The Crisis in Canadian Universities (Toronto: Random House Canada, 1997). Bercuson, Bothwell, and Granatstein tell a tale that is well known in intellectual and demagogic circles by now After World War II, Bercuson, Bothwell, and Granatstein inform us, Canada, like the US, the UK, and Australia, flush with monies (thanks, in part, to German and Japanese economic decline due to war) and returning soldiers, and convinced that universities were central to the war against tyranny, expanded their university systems in order to fight such tyranny on the political and economic-technological levels. Some on the left, of course, argue that thanks to these social and cultural contexts universities, research universities, became central cogs in the military and industrial complex of the so-called "free world".

The 1960s, Bercuson, Bothwell, and Granatstein tell us, brought increasing numbers of baby boomers to universities. Many of these baby boomers pushed for a more "relevant" education and an expansion of the curriculum, particularly an expansion of courses on class, race, and ethnic groups, and an expansion of practical professional programmes on university campuses. Soon this utilitarianism led, particularly after the oil crisis of the 1970s and the declining support of federal and provincial support for universities, to increasing numbers of university consumers wanting and demanding an education for post graduation success, an ideology helped along by educators who preached the gospel, one that did have quantitative support, that more education equalled more financial and cultural rewards after graduation. This utilitarianism fed into even more curricular "reform" of a practical nature, a type of curricular reform that continues as I type.

With the increase in the number of educational institutions, with student numbers increasing, with many students demanding an education relevant for post university life, and with the decline in federal and provincial funding for education, pressure was put on university administrators to find a way to keep their universities afloat in an age of economic and demographic austerity. Universities responded to this crisis in a variety of ways. Tuition fees (and student and alumni fees in general) rose with provincial consent. This meant that more students equaled more monies so university administrators developed advertising campaigns to promote their universities to prospective students and developed ways to retain students already on campus or off campus in distance learning programmes. The curriculum, as a consequence, was further oriented toward a utilitarian or practical education. The Liberal Arts, the heart of traditional education, suffered. Grades inflated. Sessional faculty increased. Tenure faculty streams decreased relative to the increasing number of Ph.D's produced by both the elite and less elite universities. The physical plant expanded (particularly administrative and residential buildings and sports facilities), much of it in order to attract students to campus. And since student numbers and student retention became central to universities, student concerns became a central component of university decisions about the curriculum and the extra-curriculum.

Political correctness fed into this university in the age of austerity in a number of ways, so we are told. The rise of identity politics and the mythistories that accompanied it led to lobbying for a celebration of identity groups and their "histories" in universities. Sensitivity and therapeutic culture led to calls for an education that didn't traumatise students. The hiring of faculty in the years the universities grew, particularly those from the sixties, provided students who wanted an education that celebrated their identites and avoided traumatising them, with an ally. In the process, a new dogma, one that celebrated aspects of the increasingly diverse student population and one which was careful not to traumatise sensitised students, emerged and was institutionalised in university politics. As a result, any behaviours or teaching that challenged such doctrines, became increasingly persona non grata on university campuses and a new orthodoxy emerged.

There are, of course, a number of problems with this picture. Yes, universities grew and prospered thanks particularly to governmental monies. Yes, universities came under financial pressure after the oil crisis of the 1970s and had to find other ways, thanks to a decline in governmental funding, to stay financially afloat. Yes, educational practise became increasingly tied to career and financial "success".  For far too many a medical degree, for instance, meany you could consume more than it meant helping others. Yes, the Liberal Arts declined in popularity and relevance while professional and career oriented education has increased in popularity. Yes, grades have inflated since the 1970s (and all college personnel know this) and if you are a faculty member, particularly a sessonial faculty member or an adjunct, who doesn't get with the brave new modern grade inflation programme, you can be made redundant. Yes, far too few students are even willing to read one book these days compared to the bad old its too hard days when I, for instance, had to read thirteen books in a semester length introductory level Greek history class and four books a week for a postgraduate seminar. Yes, far too many young people today are coddled thanks to the attempt of so many to turn the core nation world into a Disney movie. Yes, universities became more demographically diverse after the 1960s. Yes, student numbers increased leading to a situation where too many people are taking undergraduate and graduate degrees increasingly trivialising them in the process. Yes, far too many of the far too many going to college require, particularly on the undergraduate level, are in need of remediation. Yes, for far too many of those students in need of remediation there is not much media to re even should colleges and universities adequately fund remeadiation programmes. I had several students at a second division American research university who did not grasp the concept that 20 points is 20% and vice versa on a 100 grade scale. Yes, universites today rely too much on sessional lecturers. Yes, many American colleges and universities are little more than glorified high schools these days consisting of grade 13 and beyond. Yes there is far too much segmentation of labour in the academic cultural marketplace. That segmentation of labour, however, parallels that in the economy in general because both segmentation in the univerities and segmentation in the economy are, of course, the products of a modernity characterised by "rational" and "efficient" bureaucracies staffed, at the upper and middle levels of the pyramid, with managers engaged in specialised segmentied labour. Yes, far too many academic books are opaque. Academia does not have a monopoly on opacity and the targeting of specific narrow demographics, however. And yes, far too many universities are increasingly characterised by an environment of correctness and with practises that undermine university freedom of speech and academic freedom. However, it is not political and ideological correctness, in the way it is too often understood these days, that is undermining higher education in the age of neoliberal austerity. It is the need for student bodies, for customers.

The need for student bodies has led, along, admittedly, with federal and provincial mandates, to increases in administrative staff. One study found a significant increase in upper level and middle level bureaucrats at one American university, something that can clearly be generalised to other universities in the United States, Canada, and Australia (as can the increase in financial remuneration for academic bureaucrats). Part of the mandate of these university bureaucrats is to recruit and retain students, something that has led to the rise of a retail model of education, a model in which, oftentimes, the customer, the student, is right. It is this retail model of higher education (a model that seens to once again reared its head in the recent firing of an NYU organic chemistry adjunct) that is behind the sensitivity to the concerns of a number of students who have already socialised before they came to university. Yes, some faculty, particularly in the social sciences and humanities (something Bercuson, Bothwell, and Grantstein are aware of), are favourably disposed to this retail model of academica to some extent. Like students, however, these more "radical" faculty--those in engineering, the hard sciences, most of the professional schools are not likely to man these barricades anytime anytime soon--reflect what is happening in fractured postmodern Canada in general.

So what to do? Bercuson, Bothwell, and Granatstein recommend greater interdisciplinarity, less emphasis on publish or perish, and the elimination of tenure. They recommend that universities be given greater administrative autonomy. They recommend more targeted governmental subsidies that recognise the differences in university and scholarly quality and writing and research quality. They recommend the recognition of the differences between universities that no eqalitarian rhetoric will paper over. They recommend the establishment of a national university so that Canada, for the first time in its history, can have an Australian National University of its own.

I am actually sympathetic with many of these recommendations. However, as is almost always the case some of these recommendations are easier to say and more difficult to do. While, for instance, Bercuson, Bothwell, and Granatstein argue that tenure is no longer necessary since all or most universities are dedicated to freedom of inquiry and is a hindrance to quality the reality is that a number of people and groups, many of them on the political and ideological right, have as their goal limiting freedom of inquiry on university campuses since they prefer their education to be mythic in orientation rather than empirical just like their nationalist forebears. Do they have influence? Just ask the universities in Wisconsin and Florida. 

There are several other problems I have with Petrified Campus. Bercuson, Bothwell, and Granatstein claim that Canadian universities are not the equal of great American state universities. Both the University of Toronto and McGill (the Big Two?), however, are members of the elite Association of American Universities (and have been so since 1926) suggesting that Canada already has the equal of the great American state universities like Berkeley, Michigan, Indiana, North Carolina, or Texas, which are likewise members of the AAU. Administrative autonomy, which Bercuson, Bothwell, and Granatstein argue for more of, is likely to lead to more not less retail education. Eliminating some universities or downsizing selective universities, both of which Bercuson, Bothwell, and Granatstein suggest, is problematic given that they are economically important to the communities they serve (something Bercuson, Bothwell, and Granatstein recognise). But most of all, and Bercuson, Bothwell, and Granatstein don't seem to grasp this fully, universities are reflections of the society and culture in which they exist. This suggests that if you want to change universities you first have to change the broader society and culture that they are situated in and impact them. This, however, is unlikely to happen since it means that one would have to change aspects of the relevant economic (Canada's economies of scale can never match that of the US), political, cultural, demographic, and geographic factors that have given rise to postmodernity in the core parts of the world, one of the dominant types of society and culture of Canada, the US, Australia, New Zealand, Western Europe, and Japan at the moment, and the societal form that "traditionalist" modernism sees as the enemy. Good luck with that.

As to why Peterson became a pop star while Bercuson, Bothwell, and Granatstein did not, good question. Perhaps it is because they are less sensational and stridently polemical and as a consequence less partisan and dogmatic. Perhaps it is because of the brave new digital revolution and the internet and the celebrities it creates. Perhaps it is because of the increasing prominence of political cults centred around charismatic bureaucrats in the brave new digital world. UofT tutorial time perhaps?

Saturday, 1 October 2022

The Books of My Life: Joss Whedon (Pateman)

 

As I have hinted at again and again in this blog I have experienced hours and hours of joy and hours and hours of pain through watching the often profound genre blending and gender bending comedic, dramatic, and tragic television shows of auteur Joss Whedon. I developed a love of Buffy the Vampire Slayer and the tragically short lived Firefly particularly after they came out on the relatively new medium of the DVD. I liked the noirish Angel. I found Dollhouse, a television show Whedon only partially created, interesting, intriguing, and the most Vertigoish of Whedon's work thanks to, in part, its exploration of male fantasies about women. 

I have a much more limited interest in Whedon's film work beyond his Shakespeare adaptation Much Ado About Nothing and his nudge, nudge, wink wink horror film Cabin in the Woods, which he co-wrote with former Buffy writer Drew Goddard. I simply have zero interest in the now dominant Hollywood superhero films which stretch credibility beyond the breaking point for me and which are too adolescent for someone who never had to move beyond comic books because he almost never read them. So, it is unlikely that I will watch his Avengers/Avengers Assemble and its sequel, Avengers: Age of Ultron unless they appear on television and there is no better alternative on other channels at the time they are broadcast.

Thanks to my adventures in the television worlds of Whedon, my interest in culture, and my interest in social and cultural theory, it was inevitable that I would begin to read books and articles on what has come to be called the Whedonverse. As posts on this blog indicate I have read a number of books on the televisual worlds of Joss Whedon and his collaborators.  My latest literary excursion into the storytelling worlds of Joss Whedon and its contexts is a book by English Whedon scholar Matthew Pateman, Joss Whedon (Manchester, Eng: Manchester University Press, 2018), the author of a highly regarded in Whedon Studies circles previous book on Buffy entitled The Aesthetics of Culture in Buffy the Vampire Slayer published by McFarland in 2006.

Unlike David Lavery's creative biography of Whedon, Joss Whedon: A Creative Portrait published by Tauris in 2014, Pateman's book is, as Pateman emphasises, a critical and contextual analysis of the televisual work of Whedon. Pateman eschews biography and psychological detective work by focusing on Whedon's narrative art, his storytelling skills, and the intersection of these with Whedon's politics, which have often been seen as, as Pateman notes, liberal and feminist, instead. Divided into two parts, part one of Pateman's book explores the industrial and political aspects of Whedon's art while part two consists of several case studies of Whedon's storytelling art in Buffy, Angel (less so), Firefly, and Dollhouse, something that gives Pateman's Joss Whedon the quality of a collection of related essays. 

There is a lot to admire in Pateman's book. I found his attempt to move beyond the pitfalls and pratfalls of crystal ball textualism with its Chomskyish everything you need to know about a media text you can find in that media text, commendable. I greatly appreciated Pateman's attempts to move beyond the text in his exploration of Whedon's politics, particularly his gender politics, in his attentiveness to the production processes of a television show, and in his attention to the collaborative nature of mass art. I particularly appreciated Pateman's attempt, with the help of Buffy, Angel, Firefly, Dollhouse and beyond writer Jane Espenson, to explore the script writing processes practises that characterised the Whedonverse. Also worthy of praise is Pateman's emphasis not only on plot and character but on mise-en-scene. As such Pateman's book provides, I would argue, a better model for media analysis than much of what passes for media analysis in the text cenred media world these days.

On the other hand, there were a number of things that I found vexing about Pateman's book on the work of Joss Whedon. I found his formulaic critique of classical auteurist theory problematic. Yes, the auteurism of Cahiers critics and later filmmakers like Francois Truffaut and Jean Luc Godard were polemical and ultimately individualist in orientation. However, many of those who adopted the policy of auteurism, like Andrew Sarris and many of the critics associated with Movie, did not simply adopt what might be called the Cahiers "romantic" approach to auteurism, they also adapted it. Many post-Cahiers auterists, for instance, foregrounded the fact that filmmaking was collaborative, that only a few Hollywood directors were auteurs, wrote about actors and writers and hinted that they too might be seen through the lens of auteurism, and emphasised that auteurism was a useful approach for organising and understanding the films produced Hollywood studio system before the break up of the Hollywood production, distribution, and exhibition system in 1948, at least in part. Like so many of the post-1960s film studies generations, Pateman seems not to have read much of classic auteurist theory--an approach that goes back at least to the 1920s--and seems to be more intent to create a straw man or woman he can play off of. It really is well past time for the younger generations of film and movie critics to move beyond these straw men and women arguments and go back to the diverse texts of post-World War II auteurism in order to tease out the various approaches to mass media authorship that were there from their post-World War II beginings, approaches that included Marxist approaches that were very, if selectively, contextual and critical of the romantic approach to artistic creativity.

Additionally, as is also the case with Lavery's creative biography, I found Pateman's reliance on a single source problematic. As ethnographers engaged in observation and historians working in archives know there are problems in relying on single informants or even a handful of informants. The information one gleans from them may very well be accurate but it must be checked against other sources, ethnographic and archival.

Finally, there is the related issue that Pateman has, like so many of his colleagues in film and television studies, written a book on an artistic figure who is still alive and well and who will, one presumes, continue to work in Hollywood despite the 2018 and 2022 revelations about his behaviour, revelations that led to Whedon's fall from grace in the eyes and hearts of some of his devotees, This means that Pateman's analysis and conclusions must remain somewhat tentative. Since Whedon is still alive and because Hollywood limits access to contemporary primary source material for a variety of reasons, scholars and analyists simply are unable at the moment to fully appraise Whedon's work. For this reason, Pateman's book, while interesting, useful, and praiseworthy in many respects, is inherently incomplete and as such tentative. As a consequence the authoritative and definitive work on the storytelling art of Joss Whedon and the economic, political, cultural, demographic, and geographic contexts that surrounded and impacted it, awaits some future biographer and critical analyst who has access to all relevant materials that are essential to understanding both Joss Whedon and his art.

Recommended.