Jolene Brown
Dr. T. Morton
ENL 110B
30 July 2009
Why Read Literature:
Literature, Science and the Problem of Subjectivity
Those who cannot empirically measure the importance or value of literature have often questioned the value of it beyond basic storytelling or perhaps historical motivations or moral growth. It does seem counter-intuitive for a person to put a numerical value on the importance of literature in society, after all, the subjectivity that is implied by the idea of enjoyment is interpreted as a strict form of subjectivity, not reconciled to a single value that is the same to each person equally. Examples of this sort of subjectivity are found everyday in conversations about literature: people who will argue that one book is better than another for various reasons or an author is better than another because emphasis of certain stylistic qualities that change importance from person to person. It does seem absurd that the author would intend or even expect his text to have a "universal" interpretation for all readers. With the myriad of personalities in the world and the enormous potential for readership, the possibility of even two people identifying, interpreting and mentally constructing the text in an identical fashion is a statistical fantasy. It is, of course, up for argument that one can even distinguish intent of the author as an identifiable construct, or even that the ideas of the audience can be articulated in such a way to make them available for side by side comparison. It must be asked then, is there a certain particular, universal reason to read literature?
Superficially it would seem that science does not suffer the ambiguity of subjectivity as literature does. Instead, science maintains an attitude of ‘objectivity,’ expecting the same from all other studies. Biology, physics, and chemistry have descended upon the other disciplines as a merciless predator tearing away at the flesh of their victims with methodical scientific evidence, undermining all other superiority with the intended purpose of explaining and defining the world “objectively.” What the humanities, especially, have left are the few remnants of those things not yet explainable by science. Literature, which is at best an abstraction of reality, cannot compare to science with its powers of explanation, but literature has a strength that the sciences do not: literature can rule the realm of the imaginary because it is not limited by the numbers, empirical measurements and scientific method that bars science from exploring those things inside the realm of the mind. The measurements that science demands are exactly those things that literature can operate either with or without, so the flexibility of literature is exemplified in its flexibility of not demanding an empirical construct.
Of course it seems that literature has a certain inherent subjectivity in the way it is constructed that is eliminated in science by the use of methods and standards of measurements. For example, literature is often told from the perspective of one or two characters, which may or may not be identifiable with the audience for which the piece is written. This identification (or lack of) on the part of the audience seems to justify subjective interpretation: if each reader, ideal or otherwise, can cultivate their own an identity that either counters or cooperates with the identity of the character of the literature then is it hard to believe that the literature is creating an individual (subjective) experience for each member of its audience? Surely the author does not create his text with the intent that each reader should feel exactly the same way about the characters or the events. However, science may be expecting too much in their objectivity and find itself victim to the same kinds of subjective problems. Before any scientist can set out to measure his work he, must first establish a basis of measurement be it the meter, the ounce, the gram, another construct of comparison. Once he establishes a method for measurement accurate enough for his purpose, he must convince others of the accuracy and relevance of his measurement. This process, though mostly unconsidered by the scientific community, might be a cause for concern only because the implication may be that measurement itself is based on completely arbitrary objects or lengths.
It must be wondered how this gap between science and literature might be reconciled or if it can be at all. The Formalists took a step to create a “science of literature that would be both independent and factual” (Eichenbaum 1062). The Formalists subscribed to the idea that science maintained a conviction for truth, and would not compromise itself to falling short of finding the truth: “science lives not by settling on truth, but by overcoming error” (1062). At first glance it seems that the Formalists may have found the olive branch to science; by adopting its structure and formulating an approach that understood all literature through the same basic “method” there might finally be some way of organizing the value of literature based on a set standard of criteria. Critics would be able to ask the same questions of each piece and attempt to find the answers given, and there might be a direct connection between literature and science.
Can Formalism account for the broad spectrum of forms that are interwoven into so many literatures? Mikhail Bakhtin argues for the artistic formulation of the novel as both an aesthetic form and as a versatile use of language that exceeds poetry in its scope. The novel incorporates so many stylistic functions that it cannot be captured by only one set standard or subscribe to the same expectations of poetry.
The novel as a whole is a phenomenon multiform in style and variform in speech and voice. In it the investigator is confronted with several heterogeneous stylistic unities, often located on different linguistic levels and subject to different stylistic controls...These heterogeneous stylistic unities, upon entering the novel, combine to form a structured artistic system, and are subordinated to the higher stylistic unity of the work as a whole, a unity that cannot be identified with any single one of the unities subordinated to it. (1191-1192)
Formalism, because of its limited approach, cannot account for the multi-form structure of a work that is as complex as the novel, where there is more to the from than an algorithm or equation that dictates the placement of words in a kind of universal form.
Where might one turn to reconcile the ties between science and literature? Communication is necessary in both disciplines without which even the most basic of ideas cannot be constructed for consideration among peers or the public. The next place to look might be found within the one thing that both disciplines have in common: language.
At any given moment of its evolution, language is stratified not only into linguistic dialects in the strict sense of the word…but also…into languages that are socio-ideological: languages of social groups, “professional” and “genetic” languages, languages of generations and so forth. (Bakhtin 1199)
There are, of course, different kinds of languages for different disciplines, made clear when one directly compares the words and styles used by science and literature when communicating within the disciplines. However, the fundamental elements of language are present, the syntax and grammar rules remain mostly intact, and communication can be maintained between two different people of two very different disciplines with mostly ease and only little explanation of terms. The reconciliation then, must take place within the structure of language itself and the recognition of the heteroglossia that permeates the language throughout, lending itself to constant comparisons and contrasts for the sake of importance or social relevance.
Though taking a scientific approach to literature does not seem effective in its empirical study of literature, at least in the way it has been explored by the Formalists, one might be inclined to wonder what would happen if science was explored through literature. Science fiction explores the ideas of science in great depth, but another way to look at science ‘literarily’ might be to take scientific theories and explore them not only as if they were fiction, but postulate them as fiction, removing entirely any links to the reality which they try to explain, and instead imagine the possibilities of a world where these empirical facts were deemed meaningless or unimportant. Given the arbitrary nature of measurement, as described above, it is not much of a stretch to imagine the shortcomings of science in such a way to render the discipline helpless in the realm of the imaginary. Literature, on the other hand, can operate both in the realm of science, as a tool for exploring hypothetical scenarios, and in the realm of the imaginary, by creating worlds where the laws of science are not only inapplicable but deemed completely useless or even unnecessary.
For example, in science the concept of time is an important tool of measurement to assist in the accuracy of experimentation and longevity of scientific measurement. Time is not questioned in science except to establish a ground for comparison between experiments, and it is not doubted that time is an influence on the outcome of experimentation. Literature, in the realm of science, is also subject to time—the time of the reader to sit and physically read the text—which constitutes participation in a sort of science experiment by timing the point at which a subject begins reading and finishes reading a text. Once the same experiment is moved into the realm of literature, the same rules do not necessarily apply: within the text what is postulated as truth is what is true, regardless of the experience of the reader. If an author writes, for instance, that there exists no concept of time within the frame of the novel, then it does not matter how much science attempts to interfere with the experience of the words on the page, the literature is impenetrable to the effects, and science is helpless to influence the experience of the reader since science cannot operate in the imaginary, enforcing absolute objectivity and adherence to its rules.
Why read literature? Literature is an opportunity to cultivate ideas in a realm free from the constraints of not only science, but also of subjectivity. Though it feels like a safe argument to say that all literature is subjective, due to the nature of language, without any inherent qualities, it can be argued that the perceived subjectivity is only a product of disciplines—like science—enforcing rules and methods on the world in an attempt to make sense of reality according to their own standards. The rules are an illusion to bring sense to an otherwise unpredictable world. Even the rules of language fall victim to the incessant rules and regulations of science, but they are only constructs of the human mind. These constructs allow us to see patterns, but they also enforce the rule of subjectivity—an interpretation that can only be conceived of within the constructs of the rules of both science and literature. Literature, however, offers more freedom for ideas, allowing the mind free reign and ultimately an escape of the confines of law and rules, which may be seen as a great reason to find one lost in a good piece of literature.
Works Cited
Bakhtin, Mikhail. From Discourse in the Novel. The Norton Anthology of Theory and Criticism. First Edition. Editors: Leitch, Vincent B., et. al. W.W. Norton & Company, New York and London, 2001. Pp. 1190-1220.
Eichenbaum, Boris. From The Theory of the “Formal Method”. The Norton Anthology of Theory and Criticism. First Edition. Editors: Leitch, Vincent B., et. al. W.W. Norton & Company, New York and London, 2001. Pp. 1062-1087.
