Beware: Hodgepodge of learning omits great books

Reconsidering the elective system during the Cold War

Al Filreis

Harvard's President Charles Norton Eliot introduced "the elective system" in the undergraduate curriculum in the late 19th century. Taking non-required non-sequential courses! Take courses you want! Explore topics freely! It was a revolution.

In 1952 (yes that many years later — but of course it was the politically paranoid 50s) George Boas was writing in the AAUP Bulletin* that the elective system was “devised for a society of free men who knew what they wanted to study and who could be tested for the aptitude in making their choices.”

But, he adds — and here comes a particular kind of conservative backlash — but... “it did not take long for some people to point out that this might lead to a hodgepodge of learning which would omit the greatest that had been thought and said.” Great Books, in other words — the very practice of Great Books, following from the conservative argument Boas cites against academic liberalism. But not the Great Books curriculum fully deployed.

For if we really did Great Books fully, we’d notice that “each later author has been a rebel against the dominant traditions of his time. But of course such lists usually stop at a date well before our own times and we are not usually aware of precisely what harm to tradition was done by the men who figure on them.” And finally, to clinch this argument: “If you were living in the early days of Christianity, you would have seen the same kind of confusion and intellectual anarchy as you hear about today. But what is called confusion is the outspokenness of recalcitrant individuals. When they are dead, they are spoken of as heroes and prophets. But while they are alive, they are noncooperative, radical, and heretical.”

The Elective System did not create the confusion and anarchy that conservative arguments against it feared. The true study of “required” Great Books discloses the same confusion and radicalism. Finally this is not about radicalism and heresy. It's about apparent control. Boas' essay for AAUP was called “The New Authoritarianism.”

The image above and at right is taken from a defense of the Elective System that President Eliot wrote for the New York Times in 1885.

* vol 38, no 3; Autumn 1952.

October 6, 2011

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

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ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

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KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.