People often respond to ethically charged issues with strong emotions. Anger, indignation, and disgust are a normal part of the moral life. If we didn’t have these negative emotions, we would not be motivated to fight for justice. And if we didn’t have strong positive emotions, we would never fall in love.

Some philosophers think that morality is purely a matter of emotion. But feelings alone are an insufficient guide for moral judgment. We need words, ideas and theories to correct, improve, and evaluate our emotions.

In my teaching and public speaking, I often encounter folks who are overcome with emotion. Recently I was discussing the ethics of war with students. One brave young woman raised her hand and offered a comment on current events. Her emotions were so strong that it was difficult for her to speak.

I gave her time to compose herself and I acknowledged the depth of her passion. She took a deep breath and did her best to talk through her tears. But it was tough. Others in the audience were visibly moved by her effort. Emotions are contagious. We weep when others weep. We laugh when others laugh. We are social animals who communicate with tears as well as words.

After we all caught our breath, I tried to help this young woman articulate the source of her indignation. I encouraged her to consider some of the concepts and ideas from the just-war theory. I don’t know if this ultimately helped. But one of the goals of ethics education is to provide people with a moral vocabulary that helps them understand and evaluate the world and their emotional responses to it.

Indeed, one of the benefits of a broad education is that it helps us learn to describe and assess our emotions. Education teaches us to put words to our feelings. That process of recognizing and naming our emotions can help to moderate and direct them in appropriate ways. A critical moral education helps us transform our passions into coherent sentences and complex judgments. In doing that, we gain the ability to think critically about our feelings and about our responses to the world.

I worry that this kind of critical emotional education is missing in our expressivist culture. Rage and disgust, giddiness and glee drive much of our public discourse. We emote and enthuse without restraint. People whoop and holler at sporting events. They yell and yowl in public meetings. And on social media, emotional complexity is reduced to simplistic emojis requiring no thought at all. But to be fully human, we must move from passion to poetry, from feelings to phrases, and from simple words to complex thoughts and theories.

Language is a unique human capacity. Dogs growl and bark, howl or wag their tails. Those sounds and gestures are expressive. But they only convey a limited range of emotions and experiences. The great gift of human language is that it allows us to clarify, restrain and articulate our emotions. It also allows us to evaluate complex ideas and to communicate the dense and thorny knots of human experience.

Human beings have the capacity to experience and express a large variety of emotions and ideas because we have a complex system of language and meaning. Poetry, music, and religion move us in ways that transcend mere animal behavior. The experience of art takes us quite far beyond the animal’s howl. The arguments of lawyers and theologians allow us to develop complex systems of social life. And scientific theories are infinitely more complex than the dog’s wagging tail.

Words are tools. The more tools we have, the better. If your tool kit only includes a hammer and a screwdriver, you’re not going to be able to build many things. But if your tool kit is broad, diverse, and subtle, you are on your way to creating new and amazing things.

A broad education provides us more words and more tools. This includes a whole range of metaphors, idioms, and paradigms that come from art, history, literature, philosophy, and religion. This linguistic tool kit provides us with the opportunity to clarify, and refine our emotional lives. It also helps us articulate and evaluate things in a way that transcends laughter and tears.

Read more at: https://www.fresnobee.com/opinion/article287422570.html#storylink=cpy

Dylan’s best lyrics cause us to think twice and to sit and wonder why

Fresno Bee, October 22, 2016

Some wonder whether Bob Dylan deserves a Nobel Prize. Folk music and rock ’n’ roll are not literature. But if art is supposed to change the world, Dylan’s songs are worth more than any novel. He is the voice of the 1960s counterculture. His songs inspired the Byrds, the Grateful Dead and Jimi Hendrix.

Dylan’s art is iconoclastic. In “Maggie’s Farm,” Dylan complained, “I try my best to be just like I am; But everybody wants you to be just like them.”

This may explain Dylan’s public silence about the Nobel Prize. As Dylan once sang, “sometimes the silence can be like thunder.” I appreciate Dylan’s reticence. There is something disheartening about imagining Dylan in a tuxedo, schmoozing the Swedish nobility. What does Stockholm have to do with Woodstock?

This is not the only controversial Nobel Prize. When President Barack Obama won the Peace Prize in 2009, critics complained that he didn’t deserve it. Henry Kissinger’s 1973 Peace Prize and Yassar Arafat’s 1994 Peace Prize were lampooned and criticized.

And so it goes in politics, as in art. Genius lies in the eyes of the beholder. One man’s hero is another man’s knave. Judgments about art and politics involve tastes and preferences. One man’s bread and butter is another woman’s basket of deplorables.

Great artists shape our desires. No one is born savoring Dylan’s gravelly whine. Artistic genius gives us a taste for something we didn’t know we loved.

Great art also provides a consolation and escape. Dylan asked Mr. Tambourine Man to take him on a trip upon a magic swirling ship so he could “forget about today until tomorrow.” But while most pop music is merely escapist, Dylan’s lyrics are also deep, dank and dark. They linger on desolation row where the world is often tangled up and blue. Or, as he sings, “people are crazy and times are strange.”

Dylan is a master of partial perspectives and disjointed imagery. He channels chaos and dislocation. “Something is happening but you don’t know what it is, Mr. Jones,” he sings. “How many times must a man look up before he can see the sky?” Dylan asks. But the answer is left blowing in the wind.

In Dylan’s universe, thieves and hobos hold on, while time moves like a jet plane. They knock on heaven’s door as storm clouds gather. For a moment, they see a light come shining and are released, finding temporary shelter from the storm. But as Dylan warns, “whatever you wish to keep, you better grab it fast.” He intones, “It’s not dark yet, but it’s getting there.”

Dylan’s songs are ironic and often playful. He sang, “There are many here among us who feel that life is but a joke.” The biggest joke is on the masters of war – and maybe also literary snobs – who criticize what they don’t understand.

Dylan’s enigmatic lyrics have literary merit, even if some of his songs are trite (“Lay, Lady, Lay” comes to mind). In some of his best lyrics, he criticizes formal, stuffy art, singing, “Inside the museums, infinity goes up on trial.” He continues, “Mona Lisa must have had the highway blues. You can tell by the way she smiles.” Like Mona Lisa’s smile, Dylan’s best lyrics cause us to think twice and to sit and wonder why.

NOVELISTS USE WRITTEN WORDS. SONGWRITERS ADD MUSIC.
REGARDLESS OF THE GENRE, THE TASK IS TO SHED LIGHT.

Dylan hints that the poet’s task is as a mirror to the world. In “Hard Rain Gonna Fall” he explains, “I’ll tell it and think it and speak it and breathe it; And reflect it from the mountain so all souls can see it.” Artists reflect the wonder and horror of the world.

Novelists use written words. Songwriters add music. Regardless of the genre, the task is to shed light.

But to reflect the world, the artist must stand outside of it. In 1964, as Dylan was starting out, the philosopher Jean-Paul Sartre refused the Nobel Prize. Sartre explained, “The writer must refuse to let himself be transformed into an institution.”

Dylan’s reticence inspires a comparison with Sartre. The world seduces the artist, luring him back to work on Maggie’s Farm. But artists venture off the farm. They lead us on with enigmatic words and pregnant silences, trying to get to heaven before they close the door.

Read more here: http://www.fresnobee.com/living/liv-columns-blogs/andrew-fiala/article109544782.html#storylink=cpy

Tag: Literature

Critical emotional education: the power of words, language, and thought

Bob Dylan’s Nobel Prize

Dylan’s best lyrics cause us to think twice and to sit and wonder why

Fresno Bee, October 22, 2016