A giant of 20th cen­tu­ry schol­ar­ship, W.E.B. Du Bois’ career spanned six decades, two World Wars, and sev­er­al waves of civ­il rights and decolo­nial move­ments; he saw the twen­ti­eth cen­tu­ry with more clar­i­ty than per­haps any­one of his gen­er­a­tion through the lens of “dou­ble con­scious­ness”;  he wrote pre­scient­ly about geopol­i­tics, polit­i­cal econ­o­my, insti­tu­tion­al racism, impe­ri­al­ism, and the cul­ture and his­to­ry of both black and white Amer­i­cans; we find in near­ly all of his work pierc­ing obser­va­tions that seem to look direct­ly at our present con­di­tions, while ana­lyz­ing the con­di­tions of his time with rad­i­cal rig­or.

“An activist and a jour­nal­ist, a his­to­ri­an and a soci­ol­o­gist, a nov­el­ist, a crit­ic, and a philoso­pher,” notes the Stan­ford Ency­clo­pe­dia of Phi­los­o­phy, Du Bois “exam­ined the race prob­lem in its many aspects more pro­found­ly, exten­sive­ly, and sub­tly” than “any­one, at any time.” And there is no one more flu­ent in the ver­nac­u­lars, lit­er­a­tures, and philoso­phies Du Bois mas­tered than Cor­nel West, who lays out for us what this means:

Du Bois, like Pla­to, like Shake­speare, like Toni Mor­ri­son, like Thomas Pyn­chon, like Vir­ginia Woolf…. What do they do? They push you against a wall: heart, mind, soul. Struc­tures and insti­tu­tions, vicious forms of sub­or­di­na­tion, but also joy­ful and hero­ic forms of cri­tique and resis­tance.

West begins his course on Du Bois—delivered in the sum­mer of 2017 at Dart­mouth—with this descrip­tion (things get going in the first lec­ture at 3:15 after the course intro), which ges­tures toward the com­par­a­tive, “call and response,” dis­cus­sion to come. All nine lec­tures from “The His­tor­i­cal Phi­los­o­phy of W.E.B. Du Bois” (plus an addi­tion­al pub­lic talk West deliv­ered at the uni­ver­si­ty) are avail­able at Dart­mouth’s Depart­ment of Eng­lish and Cre­ative Writ­ing site, as well as this YouTube playlist.

The course fol­lows the move­ment of Du Bois’ com­plex his­tor­i­cal phi­los­o­phy and pio­neer­ing use of schol­ar­ly autobiography—(what West calls the “cul­ti­va­tion” of a “crit­i­cal self”)—through a num­ber of themes, from “Du Bois and the Cat­a­stroph­ic 20th Cen­tu­ry” to, in the final lec­ture, “Rev­o­lu­tion, Race, and Amer­i­can Empire.” It begins with 1903’s The Souls of Black Folk, in which Du Bois first wrote of dou­ble con­scious­ness and penned the famous line, “The prob­lem of the twen­ti­eth cen­tu­ry is the prob­lem of the col­or-line.”

West puts close read­ings of that sem­i­nal work next to “sub­se­quent essays in [Du Bois’] mag­is­te­r­i­al cor­pus, espe­cial­ly his clas­sic auto­bi­og­ra­phy Dusk of Dawn (1940),” the course descrip­tion reads. The lat­ter text is not only a Bil­dung, a “spir­i­tu­al auto­bi­og­ra­phy,” Du Bois called it, but also a crit­i­cal analy­sis of sci­ence and empire, white­ness, pro­pa­gan­da, world war, rev­o­lu­tion, and a con­cep­tu­al­iza­tion of race that sees the idea’s arbi­trary illog­ic, in the “con­tin­u­ous change in the proofs and argu­ments advanced.” These ideas became for­ma­tive for anti-colo­nial, anti-impe­r­i­al, and Pan-African move­ments.

Du Bois first formed his “rad­i­cal cos­mopoli­tanism,” as Gunter Lenz writes in The Jour­nal of Transna­tion­al Amer­i­can Stud­ies, dur­ing his stud­ies in Ger­many, where he arrived in 1892 and found him­self, he wrote, “on the out­side of the Amer­i­can world, look­ing in.” He returned to Ger­many over the decades and, in a 1936 vis­it, was one of the few pub­lic intel­lec­tu­als who pre­dict­ed a “world war on Jews” and “all non-Nordic races.” But Du Bois not only con­front­ed the geno­ci­dal wars and helped lead the lib­er­a­to­ry move­ments of the 20th cen­tu­ry; he also, with uncan­ny per­spi­cac­i­ty, both antic­i­pat­ed and shaped the strug­gles of the 21st. Access West­’s full lec­ture course here.

West­’s course, “The His­tor­i­cal Phi­los­o­phy of W.E.B. Du Bois,” will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent: 

Free Online His­to­ry Cours­es

Take Free Online Cours­es on African-Amer­i­can His­to­ry from Yale and Stan­ford: From Eman­ci­pa­tion, to the Civ­il Rights Move­ment, and Beyond

W.E.B. Du Bois Cre­ates Rev­o­lu­tion­ary, Artis­tic Data Visu­al­iza­tions Show­ing the Eco­nom­ic Plight of African-Amer­i­cans (1900)

W.E.B. Du Bois Dev­as­tates Apol­o­gists for Con­fed­er­ate Mon­u­ments and Robert E. Lee (1931)

Daniel Den­nett and Cor­nel West Decode the Phi­los­o­phy of The Matrix

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

For decades we’ve been hear­ing about the prob­lem of Post­mod­ernism. I sup­pose I get, in a vague sort of way, what peo­ple mean by this: moral rel­a­tivism, mis­trust of objec­tiv­i­ty and sci­en­tif­ic, reli­gious, and oth­er author­i­ties, “increduli­ty toward meta­nar­ra­tives,” as Jean-Fran­cois Lyotard defined the term in The Post­mod­ern Con­di­tion in 1979.

Don’t we find much of this rad­i­cal skep­ti­cism in the work of David Hume? The Cyn­ics? Or Niet­zsche (a Post­mod­ern ances­tor, but also claimed by Prag­ma­tist and Exis­ten­tial­ist thinkers)? A prob­lem with blan­ket cri­tiques of Post­mod­ernism is that the word has nev­er rep­re­sent­ed a cohe­sive school of thought (nor, for that mat­ter, has Exis­ten­tial­ism).

The term derives from an archi­tec­tur­al move­ment of the 1960s that is, itself, impos­si­ble to clear­ly define since it inten­tion­al­ly grafts togeth­er approach­es and tra­di­tions in exper­i­ments that cel­e­brate kitschy excess­es of style and that defy nar­ra­tive coher­ence. Post­mod­ern archi­tec­ture gave us mod­ern malls and mul­ti­plex­es, aid­ing and abet­ting late cap­i­tal­ist sprawl. (But this is anoth­er sto­ry….)

Lyotard cer­tain­ly fit the stereo­type of the Post­mod­ernist philoso­pher, with his life­time of social­ist activism and the­o­ret­i­cal hybrids of Marx and Freud. He gets lit­tle cred­it, though he put the term in cir­cu­la­tion in phi­los­o­phy. Instead, Michel Fou­cault is often cit­ed as a sig­nif­i­cant influ­ence, though he reject­ed the cat­e­go­riza­tion and thought of him­self as a mod­ernist.

Many a sur­vey of Post­mod­ern thought, such as this YouTube video series by Then & Now, begins with Fou­cault. The series cov­ers oth­er thinkers we don’t always see put in this box, like soci­ol­o­gist Pierre Bour­dieu and 19th cen­tu­ry Russ­ian nov­el­ist Fyo­dor Dos­to­evsky. Niet­zsche appears, of course, in two parts, as well as Eve Sedg­wick, Jacques Der­ri­da and Gilles Deleuze and Felix Guat­tari.

But in many ways, Fou­cault may be the best place to begin. As pro­fes­sor of phi­los­o­phy Scott Moore writes:

If post­mod­ernism is under­stood as a rejec­tion of… an Enlight­en­ment point of view… one that is char­ac­ter­ized by a detached, autonomous, objec­tive ratio­nal­i­ty… then Fou­cault is sure­ly a post­mod­ernist. Turn­ing Bacon on his head, Fou­cault affirmed that it is not the case that knowl­edge is pow­er, but pow­er is knowl­edge. Mean­ing, those peo­ple who have pow­er (social, polit­i­cal, etc.) always decide what will or will not be count­ed as “knowl­edge.”

Unlike, how­ev­er, many lat­er cul­tur­al the­o­rists who inher­it­ed the cum­ber­some label, Fou­cault looked not to the present or the future in his work, but to the past, re-inter­pret­ing pri­ma­ry sources from ancient Rome to the post-WWI glob­al eco­nom­ic order, through sev­er­al dif­fer­ent dis­ci­pli­nary lens­es.

Then & Now cre­ator Lewis Waller takes a post­mod­ern approach to this series him­self. In the video “Detach­ment, Objec­tiv­i­ty, Imag­i­na­tion: A Cri­tique,” he makes a case that Roman­tic his­to­ri­ans like Michelet, Thier­ry, and Car­lyle had a “bet­ter under­stand­ing of the real­i­ty of the historian’s craft than the sci­en­tif­i­cal­ly mind­ed did.” It’s a con­trar­i­an argu­ment that begins with Sir Wal­ter Scott and that may unset­tle your pre­con­cep­tions of what the catch-all term Post­mod­ernism might include.

See more videos from the series above and watch all of them on YouTube. You may or may not feel like you have a bet­ter sense of what Post­mod­ernism means in gen­er­al. If we take it as short­hand for the loss of unchal­lenged het­eropa­tri­ar­chal pow­er, then it is, I sup­pose, a prob­lem for many peo­ple. If we take it to mean a mode of thought that “prob­lema­tizes” seem­ing­ly sim­ple con­cepts we mis­take for the very struc­ture of real­i­ty, then it “is also an atti­tude,” writes Moore, “and it has been most art­ful­ly prac­ticed by Socrates, St. Augus­tine, Kierkegaard, Wittgen­stein, and a host of oth­ers.”

Maybe Post­mod­ernism has appeared in every peri­od of philo­soph­i­cal and lit­er­ary his­to­ry. Only it hasn’t always been so… well… so over­whelm­ing­ly French, which could have had more than a lit­tle to do with its neg­a­tive rep­u­ta­tion in Anglo­phone coun­tries. Put your meta­nar­ra­tives aside and learn more here.

Relat­ed Con­tent:

What the The­o­ry?: Watch Short Intro­duc­tions to Post­mod­ernism, Semi­otics, Phe­nom­e­nol­o­gy, Marx­ist Lit­er­ary Crit­i­cism and More

David Fos­ter Wal­lace on What’s Wrong with Post­mod­ernism: A Video Essay

Hear Hours of Lec­tures by Michel Fou­cault: Record­ed in Eng­lish & French Between 1961 and 1983

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Each and every morn­ing, many of us wake up and imme­di­ate­ly check on what’s hap­pen­ing in the world. Some­times these events stir emo­tions with­in us, and occa­sion­al­ly we act on those emo­tions, which raise in us a desire to affect the world our­selves. But does this entire rit­u­al involve any­thing real? While per­form­ing it we don’t expe­ri­ence the world, but only media; when we respond, we respond not with action in the world, but only with action in media. We have direct­ly inter­act­ed, to put it blunt­ly, with noth­ing more than pix­els on a screen. This con­di­tion has piti­less­ly inten­si­fied in our era of smart­phones and social media, and though philoso­pher and soci­ol­o­gist Jean Bau­drillard died three months before the intro­duc­tion of the iPhone, noth­ing about it would sur­prise him.

Assem­bled in an omi­nous, vin­tage stock footage-heavy style rem­i­nis­cent of Adam Cur­tis (he of The Cen­tu­ry of the Self and Hyper­Nor­mal­i­sa­tion), the half-hour Then & Now video essay above pro­vides an intro­duc­tion to Bau­drillard’s ideas, espe­cial­ly those that pre­dict­ed the world in which we live today, a “hyper­re­al post­mod­ern” one filled with signs ref­er­enc­ing lit­tle that actu­al­ly exists. “In the run-up to the 2008 crash,” the nar­ra­tor reminds us, “the real val­ue of mort­gages was hid­den under lay­ers of sign val­ue, under deceit­ful insur­ance poli­cies and finan­cial rat­ings based on noth­ing.” On the news, “it does­n’t mat­ter what’s real. What mat­ters is how it’s said, who says it — the per­spec­tive, whether it will be provoca­tive enough, whether it will enter­tain.” We live, in sum, in a “post­mod­ern car­ni­val” where  “things like real­i­ty TV, Dis­ney­land, and Face­book define our lives.”

Bau­drillard saw this hap­pen­ing near­ly 40 years ago: “Peo­ple no longer look at each oth­er, but there are insti­tutes for that,” he writes in Sim­u­lacra and Sim­u­la­tion. “They no longer touch each oth­er, but there is con­tac­tother­a­py. They no longer walk, but they go jog­ging, etc. Every­where one recy­cles lost fac­ul­ties, or lost bod­ies, or lost social­i­ty, or the lost taste for food.” He cred­it­ed Mar­shall McLuhan, fel­low gnom­ic observ­er of late 20th-cen­tu­ry soci­ety, with “one of the defin­ing axioms of post­mod­ern life.” When McLuhan declared that “the medi­um is the mes­sage,” says the nar­ra­tor, he saw that “what mat­tered in this new world was not what was real and mate­r­i­al, but what was rep­re­sent­ed as signs: in short, tele­vi­sion, and now the com­put­er screen, has come to dom­i­nate social life. Sign pro­duc­tion has replaced mate­r­i­al pro­duc­tion as the orga­niz­ing prin­ci­ple of polit­i­cal econ­o­my.”

What would Bau­drillard make of a pro­duc­tion like HBO’s Cher­nobyl, whose painstak­ing recon­struc­tion of his­tor­i­cal events we pre­vi­ous­ly fea­tured here on Open Cul­ture? What made that show a spec­ta­cle, says the nar­ra­tor, was that “the depic­tion was more real than the event itself: cos­tumes, props, spe­cial effects, and the per­fect angle, the Geiger counter mapped onto the score already overde­ter­mined by signs.” And so, “in twen­ty years’ time we think of Cher­nobyl, will we think of the real event, or images con­jured by TV stu­dios?” But we need hard­ly look that far into the future. The very things our screens insist to us are hap­pen­ing in the world right now, far beyond the walls of the homes few­er and few­er of us leave these days — what do we tru­ly know of their exis­tence apart from this dig­i­tal bliz­zard of signs? If Bau­drillard were alive to hear our spec­u­la­tion about the pos­si­bil­i­ty that we live in anoth­er being’s sim­u­la­tion, he’d sure­ly point out that we’ve already cre­at­ed the sim­u­la­tion our­selves.

Relat­ed Con­tent:

French Philoso­pher Jean Bau­drillard Reads His Poet­ry, Backed By All-Star Arts Band (1996)

Hear the Writ­ing of French The­o­rists Jacques Der­ri­da, Jean Bau­drillard & Roland Barthes Sung by Poet Ken­neth Gold­smith

The Sim­u­la­tion The­o­ry Explained In Three Ani­mat­ed Videos

McLuhan Said “The Medi­um Is The Mes­sage”; Two Pieces Of Media Decode the Famous Phrase

An Ani­mat­ed Intro­duc­tion to Roland Barthes’s Mytholo­gies and How He Used Semi­otics to Decode Pop­u­lar Cul­ture

Is Mod­ern Soci­ety Steal­ing What Makes Us Human?: A Glimpse Into Nietzsche’s Thus Spoke Zarathus­tra by The Par­tial­ly Exam­ined Life

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.