In the spring of that year I taught an advanced undergraduate course in the Department of Philosophy at The Ohio State University, ‘Introduction to the Human Studies (Geisteswissenschaften).’ Only five students had enrolled, but they were rather unusually sensitive, alert, searching, less afraid of what they might find or not find than many others. It would be legitimate, I thought, to interpret the title of the course to mean a practical introduction to the Geisteswissenschaften, to the kind of interpretation I was interested in examining and would argue to be related to the interpretation typical of the ‘human studies.’ The reason I thought of interpretation, and a certain kind of it, was my experience the summer before, when I was trying to get clearer on my study of ‘Loma’ on which I gave a course at the New School for Social Research (when ‘Surrender and Catch’ [2 above] happened): what would occur, I wanted to see, if several people were to surrender as best they could to the same thing?
- Leo Spitzer, ‘American Advertising Explained as Popular Art,’ in his A Method of Interpreting Literature, Northampton, Mass: Smith College, 1949, pp. 102–149.Google Scholar
- Saul Steinberg, All in Line, Penguin Books, 1947.Google Scholar
- Georg Simmel, ‘The Stranger’ (1902), trans. Kurt H. Wolff, in The Sociology of Georg Simmel, pp. 402–408.Google Scholar