Contingency, Irony, and Solidarity

Last updated
Contingency, Irony, and Solidarity
Contingency-Irony-and-Solidarity.jpg
Cover of the first edition
Author Richard Rorty
CountryUnited States
LanguageEnglish
Subject Philosophy
Publisher Cambridge University Press
Publication date
1989
Media typePrint (hardcover  · paperback)
Pages201
ISBN 978-0-521-35381-6
401 19
LC Class P106 .R586 1989

Contingency, Irony, and Solidarity is a 1989 book by the American philosopher Richard Rorty, based on two sets of lectures he gave at University College, London, and at Trinity College, Cambridge. In contrast to his earlier work, Philosophy and the Mirror of Nature (1979), Rorty mostly abandons attempts to explain his theories in analytical terms and instead creates an alternate conceptual schema to that of the "Platonists" he rejects. In this schema "truth" (as the term is used conventionally) is considered unintelligible and meaningless.

Contents

The book is divided into three parts: "Contingency", "Ironism and Theory", and "Cruelty and Solidarity".

Part I: Contingency

1) The contingency of language

Here, Rorty argues that all language is contingent. This is because "only descriptions of the world can be true or false", [1] and descriptions are made by humans who must also make truth or falsity: truth or falsity is thus not determined by any intrinsic property of the world being described. Instead, they purely belong to the human realm of description and language. For example, a factual case of green grass is neither true nor false, in and by itself, but that grass is green may be true. One could say that that grass is green and another person could agree with the statement (which for Rorty makes the statement true), but the use of the words to describe grass is distinct and independent of the grass itself.

Apart from human expression in language, notions of truth or falsity are simply irrelevant, or maybe inexistent or nonsensical. Rorty consequently argues that all discussion of language in relation to reality should be abandoned and that one should instead discuss vocabularies in relation to other vocabularies. In coherence with this view, he thus states that he will not exactly be making "arguments" in this book, because arguments, as expression mostly within the domain of a given vocabulary, preclude novelty.

2) The contingency of selfhood

Rorty proposes that each of us has a set of beliefs whose contingency we more or less ignore, which he dubs our "final vocabulary". [2] One of the strong poet's greatest fears, according to Rorty, is that he will discover that he has been operating within someone else's final vocabulary all along; that he has not "self-created". It is his goal, therefore, to recontextualize the past that led to his historically contingent self, so that the past that defines him will be created by him, rather than creating him. [3]

3) The contingency of a liberal community

Rorty begins this chapter by addressing critics who accuse him of irrationality and moral relativism. He asserts that accusations of irrationality are merely affirmations of vernacular "otherness". We use the term "irrational" when we come across a vocabulary that cannot be synthesized with our own, as when a father calls his son irrational for being scared of the dark, or when a son calls his father irrational for not checking under the bed for monsters. The vocabulary of "real monsters" is not shared between father and son, and so accusations of irrationality fly. As for moral relativism, for Rorty, this accusation can only be considered a criticism if one believes in a metaphysically salient and salutary moral, which Rorty firmly does not.

Rorty then discusses his liberal utopia. He gives no argument for liberalism and believes that there have been and will be many ironists who are not liberal, but he does propose that we as members of a democratic society are becoming more and more liberal. In his utopia, people would never discuss restrictive metaphysical generalities such as good, "moral", or "human nature", but would be allowed to communicate freely with each other on entirely subjective terms.

Rorty sees most cruelty as stemming from metaphysical questions like, "what is it to be human?", because questions such as these allow us to rationalize that some people are to be considered less than human, thus justifying cruelty to those people. In other words, we can only call someone "less than human" if we have a metaphysical "yardstick" with which to measure their prototypical human-ness. If we deprive ourselves of this yardstick (by depriving ourselves of metaphysics altogether), we have no means with which to dehumanize anyone.

Part II: Ironism and Theory

4) Private irony and liberal hope

Rorty introduces a term that he believes effectively describes the status of a person holding the "axioms" set out in the first three chapters. This person is an ironist . An "ironist", according to Rorty, is someone who fulfils three conditions:

(1) She has radical and continuing doubts about the final vocabulary she currently uses because she has been impressed by other vocabularies, vocabularies taken as final by people or books she has encountered; (2) she realizes that arguments phrased in her present vocabulary can neither underwrite nor dissolve these doubts; (3) insofar as she philosophizes about her situation, she does not think that her vocabulary is closer to reality than others, that it is in touch with a power, not herself. [2]

5) Self-creation and affiliation: Proust, Nietzsche, and Heidegger

Rorty views Proust, Nietzsche, and Heidegger each as different types of ironists. In Remembrance of Things Past , Proust almost perfectly exemplifies ironism by constantly recontextualizing and redefining the characters he meets along the way, thus preventing any particular final vocabulary from becoming especially salient. Nietzsche is an ironist because he believes all truths to be contingent, but he tends to slip back into metaphysics, especially when discussing his superman . Heidegger is an ironist because he has mostly rejected metaphysics and its conception of language as a means to an end, but his discussion of elementary words forces him to propose a "universal litany" (or "universal poem"), [4] that does not exist, because every great ironic "poet-thinker" (such as Nietzsche, Proust and Heidegger) has a very particular, subjective and contingent one.

6) From ironist theory to private allusions: Derrida

For Rorty, Derrida most perfectly typifies the ironist. In his The Post Card: From Socrates to Freud and Beyond , especially, Derrida free-associates about "theorizers" instead of theories, thus preventing him from discussing metaphysics at all. This keeps Derrida contingent, and maintains Derrida's ability to recreate his past so that his past does not create him. Derrida is, therefore, autonomous and self-creating, two properties which Rorty considers most valuable to a private ironist. While Derrida does not discuss philosophies per se, he responds, reacts, and is primarily concerned with philosophy. Because he is contained in this philosophical tradition, he is still a philosopher, even if he does not philosophize.

Part III: Cruelty and Solidarity

7) The barber of Kasbeam: Nabokov on cruelty

Rorty furthers his distinction between public and private by classifying books into those "which help us become autonomous" and those "which help us become less cruel", and roughly dividing the latter group into "books which help us see the effects of social practices and institutions on others" and "those which help us see the effects of our private idiosyncrasies on others." [5] He dismisses the moral-aesthetic contrast, instead proposing the separation of books which offer relaxation from books which supply novel stimuli to action. Metaphysicians, having little doubt about their final vocabularies, confuse private projects with the pleasure of relaxation, and hence dismiss, as not serious or merely aesthetic, not only those writers with no relevance to liberal hope, like Nietzsche and Derrida, but also those warning against the potential for cruelty inherent in the quest for autonomy, among which Rorty places Nabokov and Orwell, since "both of them dramatize the tension between private irony and liberal hope." [6]

Nabokov's dismissal of "topical trash or what some call the Literature of Ideas" [7] [8] and Orwell's rejection of art for art's sake [9] are criticized as attempts to excommunicate writings different from their own while perpetuating the moral-aesthetic contrast. Rorty brings together their contrasting claims about art by saying that there is no such thing as "the writer" or "the nature of literature" (we can instead ask, "What purposes does this book serve?"), [10] and that the pursuit of private perfection, as well as serving human liberty, are both perfectly reasonable aims for writers with different gifts. He wants to stress their similarities, seeing them both as political liberals (like Proust and Derrida, unlike Nietzsche and Heidegger), and as having tried to get us inside cruelty, which in Orwell's case refers to the end of 1984 , differing from his usual "topical trash", i.e., descriptions of cruelty from the outside.

Nabokov is described as horrified by the possibility of having been cruel, particularly as a consequence of a lack of curiosity about others. In a rare attempt at general ideas, he equates art, or "aesthetic bliss", with "curiosity, tenderness, kindness and ecstasy," [7] hence apparently resolving the dilemma of the liberal aesthete by offering the curious artist, or non-obsessed poet, as the paradigm of morality. Rorty argues that Nabokov's most important creations, Humbert Humbert and Charles Kinbote, originate from his knowledge that actually "there is no synthesis of ecstasy and kindness" [11] and they also tend to be mutually exclusive. As opposed to the non-obsessed and second-rate poet John Shade, they are as artistically gifted as Nabokov, selectively curious and cruel. "This particular sort of genius-monster - the monster of incuriosity - is Nabokov's contribution to our knowledge of human possibilities." [12]

The title of the chapter refers to a crucial part of Lolita, [7] Humbert's reminiscence about his late realisation that the son the barber was telling him about was actually dead, which Rorty sees as a pointer to the nature of Humbert's relation to Lolita. Likewise, there are the few subtle hints to the importance of Lolita's brother's death, that the reader is expected to connect, as opposed to Humbert, and that end up being stressed by the author in the Afterword.

Rorty ends the chapter with:

He knew as well as John Shade did that all one can do with such gifts is sort out one's relations to this world ...,. the world in which ugly and ungifted children like Shade's daughter and the boy Jo are humiliated and die. Nabokov's best novels are the ones which exhibit his inability to believe his own general ideas. [13]

8) The last intellectual in Europe: Orwell on cruelty

George Orwell, especially in Nineteen Eighty-Four and Animal Farm , represents public, or institutional cruelty. Rorty argues that Orwell deprived the liberal community of their hopes for liberal utopia without providing them with an alternative. For Rorty, Orwell represents a liberal who is not an ironist, while Heidegger represents an ironist who is not a liberal.

9) Solidarity

In this chapter, Rorty argues that because humans tend to view morals as "we-statements" (e.g., "We Christians do not commit murder"), they find it easier to be cruel to those whom they can define as "them" (meaning, as "we"). He therefore urges that they continue to expand their definition of "we" to include more and more subsets of the human population until no one can be considered less-than-human.

Reviews

The book was reviewed by Jenny Teichman in The New York Times [14] as well as by Bernard Williams for The London Review of Books. [15]

It was also reviewed by Alasdair MacIntyre in The Journal of Philosophy. [16]

Related Research Articles

Deconstruction is a loosely-defined set of approaches to understanding the relationship between text and meaning. The concept of deconstruction was introduced by the philosopher Jacques Derrida, who described it as a turn away from Platonism's ideas of "true" forms and essences which are valued above appearances.

<span class="mw-page-title-main">Gilles Deleuze</span> French philosopher (1925–1995)

Gilles Louis René Deleuze was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art. His most popular works were the two volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A Thousand Plateaus (1980), both co-written with psychoanalyst Félix Guattari. His metaphysical treatise Difference and Repetition (1968) is considered by many scholars to be his magnum opus.

<span class="mw-page-title-main">Jacques Derrida</span> Algerian-French philosopher (1930–2004)

Jacques Derrida was an Algerian-born French philosopher. He developed the philosophy of deconstruction, which he utilized in a number of his texts, and which was developed through close readings of the linguistics of Ferdinand de Saussure and Husserlian and Heideggerian phenomenology. He is one of the major figures associated with post-structuralism and postmodern philosophy although he distanced himself from post-structuralism and disowned the word "postmodernity".

<span class="mw-page-title-main">Richard Rorty</span> American philosopher

Richard McKay Rorty was an American philosopher. Educated at the University of Chicago and Yale University, he had strong interests and training in both the history of philosophy and in contemporary analytic philosophy. Rorty's academic career included appointments as the Stuart Professor of Philosophy at Princeton University, Kenan Professor of Humanities at the University of Virginia, and Professor of Comparative literature at Stanford University. Among his most influential books are Philosophy and the Mirror of Nature (1979), Consequences of Pragmatism (1982), and Contingency, Irony, and Solidarity (1989).

<i>Being and Time</i> 1927 book by Martin Heidegger

Being and Time is the 1927 magnum opus of German philosopher Martin Heidegger and a key document of existentialism. Being and Time had a notable impact on subsequent philosophy, literary theory and many other fields. Though controversial, its stature in intellectual history has been compared with works by Kant and Hegel. The book attempts to revive ontology through an analysis of Dasein, or "being-in-the-world." It is also noted for an array of neologisms and complex language, as well as an extended treatment of "authenticity" as a means to grasp and confront the unique and finite possibilities of the individual.

<span class="mw-page-title-main">Obscurantism</span> Practice of obscuring information

In the fields of philosophy, the terms obscurantism and obscurationism identify and describe the anti-intellectual practices of deliberately presenting information in an abstruse and imprecise manner that limits further inquiry and understanding of a subject. The two historical and intellectual denotations of obscurantism are: (1) the deliberate restriction of knowledge — opposition to the dissemination of knowledge; and (2) deliberate obscurity — a recondite style of writing characterized by deliberate vagueness.

Anti-foundationalism is any philosophy which rejects a foundationalist approach. An anti-foundationalist is one who does not believe that there is some fundamental belief or principle which is the basic ground or foundation of inquiry and knowledge.

Neopragmatism, sometimes called post-Deweyan pragmatism, linguistic pragmatism, or analytic pragmatism, is the philosophical tradition that infers that the meaning of words is a result of how they are used, rather than the objects they represent.

<span class="mw-page-title-main">Antihumanism</span> Philosophical and social theory, critical of traditional humanism

In social theory and philosophy, antihumanism or anti-humanism is a theory that is critical of traditional humanism, traditional ideas about humanity and the human condition. Central to antihumanism is the view that philosophical anthropology and its concepts of "human nature", "man" or "humanity" should be rejected as historically relative, ideological or metaphysical.

<i>The Origin of the Work of Art</i> Book by the German philosopher Martin Heidegger

"The Origin of the Work of Art" is an essay by the German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960. Heidegger based his essay on a series of lectures he had previously delivered in Zurich and Frankfurt during the 1930s, first on the essence of the work of art and then on the question of the meaning of a "thing", marking the philosopher's first lectures on the notion of art.

Robert Buford Pippin is an American philosopher. He is the Evelyn Stefansson Nef Distinguished Service Professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College at the University of Chicago.

Ontotheology means the ontology of God and/or the theology of being. While the term was first used by Immanuel Kant, it has only come into broader philosophical parlance with the significance it took for Martin Heidegger's later thought. While, for Heidegger, the term is used to critique the whole tradition of 'Western metaphysics', much recent scholarship has sought to question whether 'ontotheology' developed at a certain point in the metaphysical tradition, with many seeking to equate the development of 'ontotheological' thinking with the development of modernity, and Duns Scotus often being cited as the first 'ontotheologian'.

Ironism is a term coined by Richard Rorty, for the concept that allows rhetorical scholars to actively participate in political practices. It is described as a modernist literary intellectual's project of fashioning the best possible self through continual redescription. With this concept, Rorty argues for a contingency that rejects necessity and universality in relation to the ideas of language, self, and community.

David Farrell Krell, is an American philosopher. He is professor emeritus of philosophy at DePaul University. He received his Ph.D. in philosophy at Duquesne University, where he wrote his dissertation on Heidegger and Nietzsche. He has taught at many universities in Germany, France, and England. Specializing in Continental Philosophy, he has written many books on Heidegger and Nietzsche, including Daimon Life: Heidegger and Life Philosophy (1992), Intimations of Mortality: Time, Truth, and Finitude in Heidegger's Thinking of Being (1986), The Good European: Nietzsche's Work Sites in Word and Image (1997), and Infectious Nietzsche (1996). Additionally, Krell has written extensively about German Idealism, his books in this area include The Tragic Absolute: German Idealism and the Languishing of God (2005), and Contagion: Sexuality, Disease, and Death in German Idealism and Romanticism. Krell has also translated Heidegger's lectures on Nietzsche, and was the editor of Heidegger's Basic Writings (1977). In a 2005 interview, Krell cited Jacques Derrida as a major influence on his work on Nietzsche.

Trace is one of the most important concepts in Derridian deconstruction. In the 1960s, Jacques Derrida used this concept in two of his early books, namely Writing and Difference and Of Grammatology.

In the philosophy of religion and theology, post-monotheism is a term covering a range of different meanings that nonetheless share concern for the status of faith and religious experience in the modern or post-modern era. There is no one originator for the term. Rather, it has independently appeared in the writings of several intellectuals on the Internet and in print. Its most notable use has been in the poetry of Arab Israeli author Nidaa Khoury, and as a label for a "new sensibility" or theological approach proposed by the Islamic historian Christopher Schwartz.

<i>Lolita</i> 1955 novel by Vladimir Nabokov

Lolita is a 1955 novel written by Russian-American novelist Vladimir Nabokov that addresses the controversial subject of hebephilia. The protagonist is a French literature professor who moves to New England and writes under the pseudonym Humbert Humbert. He describes his obsession with a 12-year-old "nymphet", Dolores Haze, whom he kidnaps and sexually abuses after becoming her stepfather. Privately, he calls her "Lolita", the Spanish nickname for Dolores. The novel was originally written in English, but fear of censorship in the U.S. and Britain led to it being first published in Paris, France, in 1955 by Olympia Press.

<i>Nietzsche and Philosophy</i> 1962 book by Gilles Deleuze

Nietzsche and Philosophy is a 1962 book about Friedrich Nietzsche by the philosopher Gilles Deleuze, in which the author treats Nietzsche as a systematically coherent philosopher, discussing concepts such as the will to power and the eternal return. Nietzsche and Philosophy is a celebrated and influential work. Its publication has been seen as a significant turning-point in French philosophy, which had previously given little consideration to Nietzsche as a serious philosopher.

<span class="mw-page-title-main">Irony</span> Rhetorical device and literary technique

Irony, in its broadest sense, is the juxtaposition of what on the surface appears to be the case and what is actually the case or to be expected. It typically figures as a rhetorical device and literary technique. In some philosophical contexts, however, it takes on a larger significance as an entire way of life.

John Llewelyn was a Welsh-born British philosopher whose extensive body of work, published over a period of more than forty years, spans the divide between Analytical and Continental schools of contemporary thought. He has conjoined the rigorous approach to matters of meaning and logic typical of the former and the depth and range of reference typical of the latter in a constructive and critical engagement with the work of Jacques Derrida and Emmanuel Levinas.

References

  1. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 5. ISBN   978-0521353816
  2. 1 2 Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 73. ISBN   978-0521353816
  3. "To make a self for himself by redescribing that [blind] impress [which chance has given him] in terms which are, if only marginally, his own." Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 43. ISBN   978-0521353816
  4. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. pp. 118-120. ISBN   978-0521353816
  5. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. pp. 141-142. ISBN   978-0521353816
  6. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 144. ISBN   978-0521353816
  7. 1 2 3 Vladimir Nabokov, On a book entitled Lolita, in Lolita. Hannondswonh: Penguin, 1980, p. 313.
  8. Cited in: Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 145. ISBN   978-0521353816
  9. George Orwell, The Collected Essays, Journalism and Letters of George Orwell. Harmondsworth: Penguin, 1968), vol. 2, p. 152.
  10. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 143. ISBN   978-0521353816
  11. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 161. ISBN   978-0521353816
  12. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989. p. 163. ISBN   978-0521353816
  13. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press, 1989, p. 168.
  14. Jenny Teichman (23 April 1989). "DON'T BE CRUEL OR REASONABLE". The New York Times.
  15. Bernard Williams (23 November 1989). "Getting it Right". The London Review of Books. 11 (22).
  16. Alasdair MacIntyre (December 1990). "Reviewed Work: Contingency, Irony, and Solidarity by Richard Rorty". The Journal of Philosophy. 87 (12): 708–711. JSTOR   2026978.