Leitmotif
Everyone has certain ways of being, patterns of existence, modes of expressing their self. In philosophical practice, we conceptualize in order to name each interesting leitmotif observed. Characters are written deliberately in order to introduce and develop an individual distinct from other characters. Memes or shticks exemplify these themes, replicating in order to be identifiable yet expressive. The intention of writers reflects the reality of existence, although more complex: we are all beings embodying and enacting identifiable characteristics.
Someone may be notably energetic, fighting to be acknowledged, basking in victimhood, while another may be full of sighs, difficult to get out of bed and experience life, claiming to enjoy but needing provocation. When philosophers observe the particulars and make a conclusion, we check the conclusion against alternatives and critiques, then articulate the causes and symptoms, and compare to other examples. This exercise from example to universal, universal to example, allows us to understand and describe a leitmotif expressed as a human characteristic. A leitmotif well explained has many readers identifying themselves in the description, even though we each like to think we are special. This says more about the common threads of humanity, although we focus on our amazement of being so well seen.
The classical operatic composer Richard Wagner and the film score composer John Williams are two masters of leitmotif in music. With two notes, the audience is aware of the presence of a menacing, violent, blood lusting shark, even without seeing the villain for most of the movie. The leitmotif is repeated, embellished, riffed, and experimented with, and as long as the basic pattern is somewhere identifiable, its association with its character is undeniable.
Valueless
A common proclivity of individuals and society is to identify a leitmotif as a negative phenomenon, or focus on the negative traits of it, as a diagnosis to be solved, and to seek to cure it. This tendency is a major misunderstanding of the work of philosophical practice, where a leitmotif is a concept for exploration rather than a diagnosis for curing. Take for example the leitmotif bitch. The term is a great one—it is strong and pithy, rather universally understood, heavy with meaning, and effortless in manifesting exemplifications in the interlocutor’s mind. The association of the term as gendered and negative are social constructs. It is unfortunate that we lack a similarly effective term for the trait in men, that women and men are judged differently, and that society tends to perpetuate the use of the term to stress its negative dynamic. The powerful concept represents knowing one’s mind, asserting oneself, and having a prioritized self worth. There are as many positive sides of the characteristics contained in the concept of bitch, and yet the negative characteristics are rather the focus of the use of the term. Just as a musical leitmotif can be triumphant or tragic, potent or subtle, major or minor key, characteristics can be interpreted and expressed in an abundance of freedom of being. The philosopher plays with concepts to describe and to examine, interested in the phenomenon and how well it fits instead of the social value, testing and exploring.
Destiny
Destiny plays with the leitmotif structure: evolution is possible, no one is doomed to be x, while the leitmotif is still present. Take for example Darth Vader. His leitmotif is a strong march. He symbolizes darkness, corrupt power, and fear, all of which is captured in the trombones. Later when he is redeemed and dying, his leitmotif becomes a tragic swelling of the strings and soprano echoes. The leitmotif changes, yet is still identifiable, like a fingerprint. Anxious nail biters may intently work on not chewing and letting their nails grow out, but keen observers realize that their nervous tick transfers to pick at a different body part, to rub a beard, or to crack joints. The anxiety is there, even in someone who meditates every day. Self awareness can identify and enable intentionality regarding how the leitmotifs are expressed. But it is an interesting question whether an individual can reject or replace a leitmotif.
Diagnosis
Leitmotifs are diagnoses of being for the sake of self knowledge. In philosophical practice, we name what we observe. We work on precision, honing in on the word that compresses and expresses the essence of the phenomenon. We explore what the concept means and the implications that the concept carries. We question what we like and do not like; we articulate what we want and how to harness this self awareness. The intention is not to solve problems, although that may be a side effect of self exploration. The intention is to think, to understand ourself, to live intentionally, and to live a thinking life.
Questions
How do you describe the characters from Prokofiev’s Peter and the Wolf?
What instrument would represent you in your life’s story, and why?
What color would your life be painted in, and why?
How many concepts can you identify in yourself?
How can you interpret your ugliest concept as positive?
How can you interpret your most beautiful concept as negative?