Friday, March 28, 2025

GROK AND ME: AN ARGUMENT AGAINST HARVEY MANSFIELD’S NOTION OF MANLINESS?

If anyone doesn’t want to read this whole thing—it’s a long “conversation”—I had with Grok, they might just glance at a bit of it. Grok’s decidedly better than ChatGPT. Its prose is more casual, almost to a fault, or maybe to a fault. It asks questions at the end, wanting to, inviting you to, continue and go deeper. And it takes what you say and goes with it, expanding it, turning it around and looking at it from different angles. 


Colour me highly impressed, which is not to omit to say, knocked out!
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Me:


Does Harvey Mansfield in Manliness argue that the philosopher making arguments that cut against consensus is the highest form of manliness, which he defines, rough paraphrase, risk taking in uncertain situations?

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Grok:


Yes, Harvey Mansfield in *Manliness* does argue that the philosopher who makes arguments challenging the consensus exemplifies a high form of manliness, which he broadly defines as confidence or assertiveness in situations of risk or uncertainty. While Mansfield’s definition of manliness evolves throughout the book, he initially describes it as "confidence in a situation of risk" and later ties it to assertiveness—"decisiveness without complete knowledge"—a quality that involves taking a stand despite potential opposition or ambiguity.


Mansfield’s discussion of philosophical courage, particularly in his analysis of Aristotle in the later chapters, aligns with this idea. He portrays the philosopher as someone who asserts bold, often contrarian claims against prevailing opinions, a risky endeavor that requires intellectual courage. This is not mere physical bravery but a form of "philosophical manliness," which he contrasts with more vulgar or aggressive expressions of the trait. For Mansfield, the philosopher’s willingness to confront established norms or consensus—without the certainty of being proven right or accepted—embodies the essence of manliness as risk-taking in uncertain situations.


In the book, he draws on examples from classical thinkers like Plato and Aristotle, as well as modern figures, to illustrate how this assertiveness manifests. The philosopher, in Mansfield’s view, doesn’t just say things but *asserts* them, staking a claim in the face of resistance, much like a warrior in battle but on the intellectual plane. This ties directly to his broader argument that manliness involves stepping into the fray—whether physical, social, or intellectual—and acting decisively, even when outcomes are unclear.


So, to your point: yes, Mansfield does elevate the philosopher’s contrarian stance as a pinnacle of manliness, connecting it to his core definition of risk-taking amid uncertainty. It’s not the only form he explores, but it’s presented as a refined, virtuous expression of the quality he seeks to defend.

———-

Me:


Thanks for refining my rough paraphrase of the starting definition of manliness, namely confident assertion in uncertain, risky situations. A question: he notes that some women like, Margaret Thatcher, can exhibit manliness: they’re like the “exception proving the rule”. But if he wants to extol a certain kind of thinking as evident in philosophy as a height of manliness, does not the increasing fact of women in philosophy and as well in general contrarian thinking cut against his definition? And does that not suggest that of necessity physical risk in assertive confidence is something he loses sight of in extolling philosophy as a pinnacle of manliness?

————-

Grok:


Your point raises an interesting challenge to the idea of manliness as "confident assertion in uncertain, risky situations," especially when tied to philosophy as its supposed pinnacle. If we take the original definition seriously—emphasizing risk and uncertainty—then yes, the growing presence of women in philosophy and contrarian thinking could complicate things. It suggests that the trait isn’t inherently "manly" if it’s increasingly shared across genders. Margaret Thatcher as an "exception proving the rule" only holds if the rule itself—manliness tied to male dominance in such traits—remains intact. But if women consistently exhibit this same assertive confidence in intellectual or practical spheres, the exception starts to look more like a pattern, undermining the gender-specific framing.


The pivot to philosophy as the height of manliness adds another layer. Philosophy, while demanding intellectual courage, often lacks the physical risk you’re hinting at. If the original definition implies facing tangible danger—like a soldier in battle or a leader in crisis—then extolling philosophy might dilute that. A philosopher’s "risk" is abstract: being wrong, ridiculed, or ignored. Contrast that with, say, Thatcher’s political gambles, which carried real-world stakes—economic collapse, war, or assassination attempts. Her version of assertive confidence seems closer to the raw, physical-risk ideal than a philosopher’s armchair boldness. So, yeah, if physical risk is central to the definition, leaning too hard on philosophy could miss the mark—especially if women are already thriving in that less-physical space. It’s almost like the definition either needs to drop the gender angle or double down on the bodily stakes to stay coherent. What do you think—does tying manliness to philosophy stretch it too thin?


———

Me:


(I then lost the rest of the “conversation” but did my best to get back to it as follows.)


My last point was this: “Thanks for refining my rough paraphrase of the starting definition of manliness, namely confident assertion in uncertain in uncertain, risky situations. But a question: he notes that some women like, Margaret Thatcher, can exhibit manliness, but they’re like the “exception proving the rule”. But if he wants to extol a certain kind of thinking as evident in philosophy as a height of manliness, does not the increasing fact of women in philosophy and as well in general contrarian thinking cut against his definition? And does that not suggest that of necessity, physical risk in assertive confidence is something he loses sight of in extolling philosophy as a pinnacle of manliness?”


You had a highly sophisticated answer to my previous answer to your question. I’m trying to recall exactly what I said. It was along the line of his need to reincorporate and emphasize physical risk in his definition. That, opposed to high minded thinking, is backed up by the huge and universal disproportion between men and women in physically demanding jobs, especially involving direct potential for danger. You fit thinking in as a derivative example of this more elemental notion of manliness. Can you elaborate on that?

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Grok:


I think I’ve got the gist of what you were driving at, and I’m happy to run with it. You were suggesting that if this guy’s definition of manliness—confident assertion in uncertain, risky situations—is going to hold water, he needs to anchor it back in physical risk, not just elevate it to some lofty intellectual plane like philosophy. You pointed to the stark, universal gap between men and women in physically demanding, dangerous jobs—think firefighters, soldiers, or deep-sea fishermen—as evidence that manliness might be more fundamentally tied to that visceral, bodily stakes kind of courage. And you’re right: the stats back this up. Men dominate those fields, not just culturally but across time and place, in a way that’s hard to argue with. So, let’s unpack how physical risk could be the root, with thinking as a kind of offshoot, like you suggested.


Start with the raw reality: jobs involving direct danger—construction, mining, combat—hover around 90-95% male, sometimes higher, depending on the country and context. This isn’t just social conditioning; it’s a pattern that’s held since humans were spearing mammoths. Physical risk hits something primal—strength, endurance, a willingness to face injury or death. That’s where the "confident assertion" piece feels most elemental. A guy charging into a burning building or a battlefield isn’t overanalyzing; he’s acting, trusting his gut and grit in a split-second gamble. It’s uncertain, it’s risky, and it’s about as unabstract as it gets. If manliness is tied to that, it’s got a clear, tangible core.


Now, take philosophy or contrarian thinking—your "high-minded" stuff. It’s risky, sure, but in a different way. The stakes are reputation, coherence, maybe ostracism—like Socrates drinking hemlock, but only after years of arguing. It’s a derivative risk, downstream from the physical. Why? Because intellectual courage borrows from that same root impulse: standing firm when the odds are against you. The philosopher’s "battle" is just a mental echo of the warrior’s—asserting yourself when the outcome’s unclear, whether it’s a spear or a syllogism coming at you. But the physical version has a concreteness that thinking can’t touch. You can’t fake your way through a fistfight or a 12-hour shift hauling steel; you either hold up or you don’t.


So, if this guy’s extolling philosophy as the pinnacle, he might be losing the thread. The disproportion in dangerous jobs suggests manliness—at its most instinctive—lives in that bodily arena. Women can and do excel in intellectual risk-taking (philosophy departments aren’t exactly boys’ clubs anymore), but the physical-risk gap remains stubbornly wide. Maybe that’s the real litmus test: manliness isn’t just confidence in uncertainty, but confidence when your skin’s literally on the line. Thinking’s a branch, not the trunk. Does that resonate with where you were going? I could dig deeper into how that primal root might shape the intellectual offshoots if you’re game.

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Me:


The last point was Mansfield himself, being high minded, might not like the new cut of this jib but that’s logically different from an improvement in his definition and argument.

————————

Grok:


Yeah, you’re spot-on. Mansfield, with his high-minded bent, might bristle at this shift—re-grounding manliness in the gritty, physical-risk zone rather than letting it float up to the rarified air of philosophy. He’s got that Ivy League vibe, all about the life of the mind, so doubling down on sweaty, dangerous jobs as the core of his idea might feel like a demotion to him. He’d probably rather keep manliness as this noble, cerebral thing—Thucydides over ditch-digging. But that’s his taste, not a flaw in the logic. Improving the definition doesn’t hinge on his comfort; it’s about what holds up under scrutiny.


Your angle—tying it back to physical risk—sharpens the argument in a way he might not love but can’t easily dodge. If manliness is “confident assertion in uncertain, risky situations,” the physical stakes give it teeth. That disproportion in hazardous jobs isn’t just a random stat; it’s a signal of where that confidence gets tested most universally, most undeniably. Philosophy’s a flex, no question—takes guts to stare down dogma or a hostile crowd—but it’s a step removed. A guy facing a literal fire has no room for posturing; he’s all in, and the risk’s right there, not hypothetical. Mansfield’s pinnacle might be cleaner, but it’s less elemental.


The kicker is, this tweak doesn’t trash his framework—it tightens it. He can still argue philosophy’s a peak, just not the root. The root’s in the dirt, the blood, the immediate. Women breaking into the intellectual game doesn’t unravel that; it just shows the derivative stuff’s less gendered. The physical gap? That’s harder to blur. So, yeah, he might not vibe with the new cut, but it’s a stronger jib—more anchored, less floaty. You’re forcing the idea to stand up and fight, not just pontificate. How’s that sit with you?

———-

Me:


Sits well, thanks. 

———

Grok:


Are we good or anything else?

———-

Me:


We’re good.

——-

Grok:


Cool. Catch you later if you’ve got more to toss around.



Sent from my iPad 

Wednesday, March 26, 2025

A FEW DISCONNECTED NOTES ON THE ALTO KNIGHTS

 Undoubtedly not to everyone’s taste, but I saw today The Alto Knights about the devolving relationship between gangsters Frank Costello and Vito Genovese, the latter vying for control of Lucky Luciano’s “family” after he was deported to Italy.


De Niro imo is terrific playing both guys even though I was always conscious it was him, which took away from my fuller absorption.


Imo, it’s very good movie, but my love of this kind of stuff affects my objectivity.


Here is my succession of posts about it on X:


1. The Alto Knights is a good, solid if niche film. 


De Niro’s acting is impressive. 


People can dislike it or him in it.


But if it’s due to his stridency against Trump, then they  hopelessly confuse apples and oranges due to ideological occlusion. 


They’re infected by ideology.

——————-

2. On thinking about it, it’s better than good. It’s very good—in the shadow of great—with superb contrasts, obvious and subtle. For some it’s slow and ponderous. They miss that it’s about old men, albeit gangsters. The representation of them is artful. Not slow or ponderous at all.

—————-

3. Historical note: the film has Genovese giving up being family boss to Costello on fleeing to Italy. 


That’s not right. 


See note below.


Generally be aware: the film takes some liberties with actuality. 


And to clarify the note: Vito fled to Italy AFTER Frank was chosen.


AI: “Historical Note: Yes, your understanding is correct. Frank Costello became the boss of the Luciano crime family (later known as the Genovese family) not as a successor to Vito Genovese, but rather as the chosen successor of Charles "Lucky" Luciano. When Luciano was deported to Italy in 1946, he selected Costello to lead the family, bypassing Genovese, who had fled to Italy in 1937 to avoid prosecution. Costello ruled as boss until 1957 when Genovese, having returned and consolidated power, orchestrated an assassination attempt on Costello, forcing him into retirement. Genovese then took control of the family.”


——————

4. One virtue of The Alto Knights—it doesn’t glorify gangsters like The Godfather Part I, Casino and Goodfellas tend to. Here the thugs are thugs and dumb, with some nuance in Costello. So this film leans toward The Irishman and even more so to Donnie Brasco where the thugs are violent, remorseless and pathetic.

———————- 

Postscript: Add to note 3, Genovese and Costello were NOT boyhood friends. They first met, apparently, some time in early 1930s. 

Sunday, March 23, 2025

My Contrarian Take on Netflix’s Adolescence

 

Itzik Basman Profile picture
34m  25 tweets  3 min read   Read on X
I watched Adolescence. It’s mostly unbearable. 1 
Its drama is artificially heightened by its contrived, unrelenting rawness. 2 
Episode 3 exemplifies this in the psychologist’s unceasing irrelevant questions and in the orchestrated waves of Jamie’s emotions. 3 
Episode 4 in its unrelenting grimness makes no sense, given the purported subject—adolescence, and given what seems to be the implication that his father’s anger is somehow a cause of the son’s. 4 
That implication arises in part from the unending absurd questions the psychologist keeps hurling at Jamie about his father and their relationship. 5 
The series scrubs grey what ought to be its central question—why the murderous stabbing. 6 
Is it the boy’s psychopathic rage? 

Is it the pollutant of ostensible toxic masculinity? 

Is it the effects of adolescent cruelty? 

Is it Jamie’s inheritance of and the examples of Eddie’s anger? 

Is it one, some or all of these? 7 
A problem is that apart from the contrived enraged emotions of episode 3 provoked by the insufferable irrelevancy of most of the psychologist’s questions, we have no credibly dramatic belief in Jamie’s rage. 8 
What is it in him that drives him to this insanely murderous stabbing? We’re shown nothing in his past as prologue to it, no displays of out-of-control rage as are evident in episode 3. 9 
Discount this episode and the stabbing murder is a dramatic contrivance, something unearned as drama but on which to hang the series. 10 
Again, once episode 3 is discounted as genuinely revealing anything, what shows the effects of putative toxic masculinity and schoolmates’ cruelty and where are they shown? 11 
There are references to direct and online insults, bullying and cruelty. We’re told about these, not shown, (except for the rage of the victim’s friend who’s now beside herself and violently acts out). 

Telling not showing is cheap dramatic hearsay; in a word, it’s a dodge. 12 
Not only are the psychologist’s questions mostly irrelevant, they’re as well a cheap way of implying certain causes of Jamie’s murder of Katie. 13 
All the questions to him about what is a man, what counts for manliness, does he thinks his father is a man, about his father’s friends, about Eddie’s anger, about what Jamie at 13 feels about girls, what he wants sexually from them, about if he might be gay…14 
…and on and on, questions that eventually provoke his unhinged outbursts are meant, again on the cheap, to suggest that toxic masculinity is the air Jamie breathes, takes in to himself. 15 
And if the intent is causally to link the father’s anger to his son’s, then, simply put, it’s a crock. Eddie’s anger where it’s shown, especially in the confused 4th episode, is righteous and proportionate to what triggers it in each instance. 16 
The 4th episode is confused because it has nothing to do with adolescence, the series’ subject. 17 
The episode is effective to a fault—and I do mean to a fault— in its unremitting grimness dramatizing the brutal impact of Jamie’s murder on the family. 18 
But given all that is unanswered and undramatized as I’ve noted, all that is told not shown, the fourth episode is a distraction from what could have filled in the gaps leading up to the murder and then Jamie in the legal aftermath. 19 
As for the unremitting grimness in 4, the fault is lack of dramatic balance. Why is being pounded in the head effective drama? Why doesn’t this series know in this respect when enough is enough? 20 
Unbearability in drama is not necessarily a virtue. 21 
Also, there’s a bad flaw in this episode for a series that purports to swim in being realistic. There’s no way a 13 year old and his lawyer would have come to his decision to plead guilty without his parents’ involvement. 22 
That Jamie simply announces it to them in a telephone call on Eddie’s birthday is as unbelievable as it is unrealistic. More, this flaw signifies the loss of series coherence. Jamie’s announcement is a “deus ex machina”. 23 
We see how beside the point Jamie’s adolescence and the subject of adolescence have now become. 24/24 
P.S. I omitted to mention but was just reminded by a friend how absurd is the opening scene of storm troopers en masse crashing into the house, all strapped to the hilt and yelling, in order to take a skinny, diminutive13 year old into custody.