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Education
Language
6 min read

Cutting language learning is a moral failure

Learning someone’s tongue is a deeply humble and empathetic act
A check list shows 'thank you' in different languages.

When you go abroad, how do you navigate language differences? Do you just stick everything through Google translate? Or put a few weeks into Duolingo before you go? Or maybe you just speak a bit louder in the hope that that will somehow smooth over any misunderstandings? 

Recently, my wife and I went to Italy for a week. Neither of can speak a word of Italian and we were taking our toddler Zachary with us (who can speak even less Italian), so we booked into a big resort where we knew staff would be able to speak some English if we needed anything for Zach. Even so, we tried learning a few words and phrases:  

‘please’,  

‘thank you’,  

‘could I have …?’,  

‘where is the …?,  

‘please forgive my toddler, he hasn’t learned to regulate his emotions yet’. 

That sort of thing. Just some basics to get by.  

Of course, what happened was exactly what happens every time I speak another language. I try my best to make an effort, people immediately realise I’m a struggling and they put me out of my misery by replying in English anyway.  

All this reinforces the importance of deep and rigorous language learning in society. All this makes the continued diminishment of university modern language programmes rather odd, and more than a little unsettling.  

The University of Nottingham has announced it is terminating the employment of casual staff at its Language Centre. This will see the end of numerous classes for students and others in many languages, both ancient and modern, including British Sign Language.  

Nottingham is not alone in this. The news comes in the immediate aftermath of a review into the University of Aberdeen’s decision to scrap modern language degrees in 2023, which found the decision “hurried, unstructured, and dominated by immediate financial considerations.” (Not that we needed a review to tell us this). The University of Aberdeen has partially reversed the decision, continuing its provision of joint honour degrees, if not single honour language degrees.  

Elsewhere, in January, Cardiff University announced plans to cut 400 academic staff, cutting their entire modern language provision in the process. In May, the University revealed that it would reverse these plans, with modern languages continuing to be offered (for now), albeit it a revised and scaled-down manner. 

The situation is bleak. As a theology lecturer who works for a Church of England college, I’m all too aware of the precarity my friends and colleagues in University Arts and Humanities departments face across the sector. But I was also naïve enough to think that languages might be one of the subjects that would be able to survive the worst of education’s deepening malaise given their clear  importance. How wrong I was. 

There are the obvious causes for despair at the news of language department cuts. One the one hand is the human element of all this. People are losing their jobs. Moreover, as casual workers, the University had no obligation to consult them about the changes or provide any notice period, and so they didn’t, because why would a university demonstrate courtesy towards its staff unless it absolutely had to? As well as losing jobs and whole careers, people will lose sleep, and perhaps even homes and relationships as a direct result of the financial and emotional toll this decision will take on staff. My heart breaks for those effected.  

And yet, the move is also evidence – as if more were needed – of the increasing commercialization of Higher Education. A statement from the University said the decision to cut languages in this way was the result of the Language Centre not running at a “financial surplus.” The cuts will instead allow the University to focus on “providing a high-quality experience for our undergraduate and postgraduate students.” 

And there we have it. Not even a veneer of pretence that universities operate for the pursuit of truth or knowledge. No, nothing so idealistic. A university is business, thank you very much, here to offer an “experience”. And when parts of businesses become financially unsustainable, they’re tossed aside. 

Languages aren’t just ways of describing the world we see, they’re also ways of seeing the world in the first place. 

But cutting language offerings isn’t just a personal and a societal loss, it’s also a huge spiritual and moral failure. And that’s because of what language fundamentally is. Let me explain.  

It can be tempting to think of words as simply ‘labels’ we assign to objects in the world, with different languages using a different set of ‘labels’ to describe the same objects. As a native English speaker, I might see something with four legs and a flat surface on top and call it a ‘desk’. Someone else with a different native language might call it a Schreibtisch, or a bureau‚ or a scrivania, or a tepu, or a bàn làm việc. You get the point: we might be using different labels, but we’re all ‘seeing’ the same thing when we use those ‘labels’, right? 

Well, it’s a bit more complicated than that. Languages aren’t just ways of describing the world we see, they’re also ways of seeing the world in the first place. As such, languages have the capacity to shape how we behave in response to the world, a world itself suggested to us in part by our language(s). As twentieth-century philosopher Ludwig Wittgenstein once wrote, “the limits of my language mean the limits of my world.” 

Let me give you just one example. English distinguishes tenses: past, present, future. I did, I do, I will do. Chinese does not. It expresses past, present, and future in the same way, meaning past and future feel as immediate and as pressing as the present. The result of ‘seeing’ the world through a ‘futureless’ language like this? According to economist Keith Chen, ‘futureless’ language speakers are 30 per cent more likely to save income compared to ‘futured’ language speakers (like English speakers). They also retire with more wealth, smoke less, practice safer sex, eat better, and exercise more. The future is experienced in a much more immediate and pressing way, leading to people investing more into behaviours that positively impact their future selves, because their view of the world – and their future selves’ place within the world – is radically different because of their language. 

Different languages lead to seeing the world differently which leads to differences in behaviour. In other words, there are certain experiences and emotions – even certain types of knowledge and behaviours - that are only encounterable for those fluent in certain languages. And this means that to learn another language is to increase our capacity for empathy. Forget walking a mile in someone’s shoes, if you want truly to know someone, learn their language.  

In my day job as a lecturer, when I’m trying to encourage my students – most of whom are vicars-to-be – to learn biblical Greek and/or Hebrew, I tell them it will make them more empathetic people. It may make them better readers of the Bible, it may even make them better writers too but, more than anything else, students who learn languages will be better equipped to love their neighbour for having done so. They will get a better sense of the limits of their world, and a greater appreciation for the ways in which others see it too. Show me a society that is linguistically myopic, and I’ll show you one that’s deeply unempathetic. I can guarantee you of that.   

We ought to be deeply, deeply concerned about the diminishing language offerings in the UK’s Higher Education sector. To open oneself to other languages is to open oneself to other ways of seeing the world. It is to be shown the limits of one’s own ways of seeing. Learning a language is a deeply humble and empathetic act. And isn’t humility and empathy in desperately short supply at the moment? 

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Article
Belief
Books
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Film & TV
5 min read

I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
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