The Victorian Sage

"Many shall run to and fro, and knowledge shall be increased"

Month: July, 2017

University and/as Business: Critic as Ishmaelite

I have had occasion to reflect lately on the relations between university and business. These are certainly growing stronger and will continue to do so. In the EU context, this is made manifest in, for example, Horizon 2020, the EU Framework Programme for Research and Innovation. It is this programme that decides where the EU money goes in terms of third-level research. The three pillars of this programme are:

Excellent science, industrial leadership and tackling societal problems.

This central need to provide “industrial leadership” means that universities, in order to receive EU funding, must demonstrate how their work is “aligned with the needs of the business sector”. Such alignment is a relatively new phenomenon. Indeed, classically, it was key to the university mission that it avoided a narrow focus on professional development. Rather, it was expected to adhere to a capacious notion of human development:

[The University] neither confines its views to particular professions on the one hand, nor creates heroes or inspires genius on the other. Works indeed of genius fall under no art; heroic minds come under no rule; a University is not a birthplace of poets or of immortal authors, of founders of schools, leaders of colonies, or conquerors of nations. It does not promise a generation of Aristotles or Newtons, of Napoleons or Washingtons, of Raphaels or Shakespeares, though such miracles of nature it has before now contained within its precincts. Nor is it content on the other hand with forming the critic or the experimentalist, the economist or the engineer, though such too it includes within its scope. (John Henry Newman, in 1852)

The University, then, always aimed at something extra, something more. Newman resisted somewhat defining what that something more was, on the premise that it was undefinable, but he did state it in general terms:

[A] University training is the great ordinary means to a great but ordinary end; it aims at raising the intellectual tone of society, at cultivating the public mind, at purifying the national taste, at supplying true principles to popular enthusiasm and fixed aims to popular aspiration, at giving enlargement and sobriety to the ideas of the age, at facilitating the exercise of political power, and refining the intercourse of private life.

But the rhetoric of humanism has given way to the rhetoric of professionalism, and Universities are now answerable to the marketplace.

Bridging the gap between university and business is a task that has proceeded apace recently. Silicon Valley, for example, is considered a product of the synthesis of university and business creating speedy technological and economic change. Yet failure of communication between the two fields seems to be still the norm. What is called for in the Science Business Innovation Board’s Making Industry-University Partnerships Work: Lessons for successful collaborations (2012) is greater strategic attention to business partnership from universities. This document recommends particularly long-term strategic partnerships between the two sectors. The Newmanian idea of the university is explicitly challenged

Today’s universities largely embrace a model of higher education developed over 100 years ago. A new vision should include producing the highly skilled workforce for a globally competitive economy. The university in the 21st century should be viewed not just as a generator of ideas but as a source of knowledge and competence that can benefit society.

Here the university’s missions to align with business and to benefit society are eventually seen as one and the same. Thus the very important question of whether and to what extent our western model of capitalistic business is per se a social good is wholly elided. Here we find, clearly enough, the limitations of the university-business partnership model. Not that one necessarily calls for a wholesale rejection of this model, but it is far from sufficient in itself to fulfil the university’s social mission. Even while elements within the university co-operate with business, others must fulfil the critical mission of the university, and continue to question the dominant economic and social practices. A critical distance from such practices is a necessity, and must be maintained a sector whose job it is precisely to take an outside view of society. But perhaps within the university is not the place to undertake this. Perhaps it is, instead, up to the individual to articulate such a criticism, unprofessional as it may be. Thus he incurs the displeasure of the business world and “wanders like a wild Ishmaelite, in a world of which he is as the spiritual light” (Carlyle, The Hero as Man of Letters). At times he or she may even wander as a wild Ishmaelite through the third-level sector, as a liminal figure therein, not aligned to the interests of business (alas), but simply tolerated, capable of interpolating the odd shaft to the heart of the university-business relation, with what ultimate result who can tell.


Adaptation, Intermediality and Narrative

Academic investigation into culture and the arts is characterized by a proliferation of terms which seem, to the untheoretical eye, to mean and do much the same thing. Yet each term has its strict adherents and schools, and often two more or less synonymous terms are studied independently. Such is generally the situation with “adaptation” and “intermediality”.

Adaptation deals for the most part with issues of intermediality. In theory, an adaptation can be of a work from the same medium, as is the position in Hutcheon’s influential book. One can see Jean Rhys’ Wide Sargasso Sea as an adaptation of Jane Eyre, for example. In practice, adaptations as studied are almost always  intermedial, moving from one medium to another, most commonly novel to film.

Intermediality itself is to a large extent a continuation of the longer-established Interart Studies, as Irina Rajewsky notes in “Intermediality, Interetextuality, and Remediation: A Literary Perspective on Intermediality”. For Rajwesky, intermediality is distinguished not by having new subjects of study (digital media, etc.) but by providing “new ways of solving problems”. These “new ways” are too heterogeneous and broad for Rajewsky’s taste, and she favours a narrow definition of the term:

In literary studies as well as in such fields as art history, music, theater, and film
studies, there is a repeated focus on an entire range of phenomena qualifying
as intermedial. Examples include those phenomena which for a long time have
been designated by terms such as transposition d’art, filmic writing, ekphrasis,
musicalization of literature, as well as such phenomena as film adaptations of literary works, “novelizations,” visual poetry, illuminated manuscripts, Sound Art,
opera, comics, multimedia shows, hyperfiction, multimedial computer “texts” or
installations, etc. Without a doubt, all of these phenomena have to do in some
way with a crossing of borders between media and are in so far characterized by a
quality of intermediality in the broad sense.

Rajewsky attempts to differentiate between different kinds of intermediality, rather than accept the diffuse concept employed by others.

1. Intermediality in the more narrow sense of medial transposition (as for example
film adaptations, novelizations, and so forth): here the intermedial quality has to
do with the way in which a media product comes into being, i.e., with the transformation of a given media product (a text, a film, etc.) or of its substratum into
another medium. This category is a production-oriented, “genetic” conception of
intermediality; the “original” text, film, etc., is the “source” of the newly formed
media product, whose formation is based on a media-specific and obligatory intermedial transformation process.

2. Intermediality in the more narrow sense of media combination, which includes
phenomena such as opera, film, theater, performances, illuminated manuscripts,
computer or Sound Art installations, comics, and so on, or, to use another terminology, so-called multimedia, mixed media, and intermedia. The intermedial quality of this category is determined by the medial constellation constituting a given media product, which is to say the result or the very process of combining at least two conventionally distinct media or medial forms of articulation.

3. Intermediality in the narrow sense of intermedial references, for example references in a literary text to a film through, for instance, the evocation or imitation of certain filmic techniques such as zoom shots, fades, dissolves, and montage editing. Other examples include the so-called musicalization of literature, transposition d’art, ekphrasis, references in film to painting, or in painting to photography, and so forth.

Category one equates roughly to adaptation, while category three could be considered to be a form of allusion. Thus adaptation is contained within intermediality (in theory). Rajewsky in this article is really only interested in drawing out the third category, wherein a work in one medium evokes at a certain point another medium. This category is more or less by definition, not relevant to adaptation study, as adaptation is, according to Hutcheon again, always an “extended, deliberate, announced revisitation of a particular work”. The extended is key here, as it excludes any form of brief allusion, transmedial or no.

Reading Rajewsky, one is struck by the though that the central difference between adaptation and intermediality as fields of study has been the centrality of narrative to the former. Adaptation has a long history of engaging deeply with narrative. The irony is that many of the more recent scholars of adaptation have decried this very engagement. The centrality of narrative to adaptations studies is at once its unique selling point and  a symptom of a field that has failed to move on. The question is how to move on without losing the identity of the field and falling into an already existing field. The other question is whether theoretical advancement is really a desideratum in any case. We could develop more complex theories, or we could use old-fashioned narrative theories to reach new insights and build an identity for adaptation.

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