Shmidentity politics

What kind of relation is like identity but holds between a thing and itself (rather than between necessarily co-referring names, for example) by stipulation? Why, shmidentity, of course! The term “shmidentity” (actually “schmidentity,” but see infra on the spelling) was introduced by Saul Kripke in Naming and Necessity and, following his example, the “sh-“ or “shm-“ prefix is now often used in philosophy for properties or relations that resemble other properties or relations but have some feature that may be controversial in the case of the prototypes built in by stipulation.


The linguist David L. Gold, in a paper in the Jewish Language Review (volume 3, 1983) entitled “A Story about Pocahontas, Geronimo, and Sitting Bull in Yiddish,” refers to the fact that languages in decline (such as Yiddish) often become “ludic languages, that is, languages used largely for jocular purposes, often only for low comedy and vulgar humor” (113). Having made this claim he cites, without quoting, a responsum by him to a reader’s query in an earlier issue of the journal which I here excerpt:

Since Yiddish word-initial /š/ + consonant sounds “funny” to a sizable number of English ears, any Yiddish word containing it is automatically recategorized [as humorous] when entering English (e.g. shmir). Perhaps the fact that initial /šm/ is a pejorizer in Yiddish and EAE [Eastern Ashkenazic English]… has contributed to this feeling among English-speakers. (Volume 2, 1982, 302)

The use of the term “shmidentity,” therefore (and similar neologisms in the philosophy literature) is culturally insensitive, appealing to the ‘funny’-sounding phonemes of a language that translated Freud, Einstein, Shakespeare, and Emily Dickinson, among countless others, for a quick laugh now that that language has fallen on hard times and is forced to wear the fool’s motley. I recommend this usage be avoided in philosophy henceforth.

As for the spelling, “schmidentity” (the form used by Kripke himself) reflects the efforts of those who have sought to cast Yiddish as low German and transcribe it into Latin characters on the model of German spelling. It is, therefore, another blow to the dignity of Yiddish. Standard Yiddish Orthography romanizes /š/ as “sh.” If one must, therefore, continue to use this offensive neologism, I recommend that at least the spelling “shmidentity” be given.

This was to have been a footnote to a footnote to a footnote in my in-progress book. If anyone is interested, here is the tree of footnotes. This note on “shmidentity” [3] would have been a footnote to [2] a discussion of the title of Gold’s paper “A Story about Pocahontas, Geronimo, and Sitting Bull in Yiddish” and the question of whether the story, given in his paper, could really be said to be ‘about’ those figures. (I draw on Robin Jeshion’s views about the link between proper names and de re thought and talk and, obviously, on Kripke’s views about historical chains and reference.) This itself is a footnote to [1] a discussion of whether my Yiddish Batman meme commits the same kind of assault on the dignity of Yiddish that I here lay at the feet of “shmidentity.” (See this earlier post and the links to yet earlier posts it contains.) This, in turn, is a footnote to [0] the main text which is the commentary on my Yiddish Batman meme.

M.20 “Couples Therapy”

Here is the last of three actual excerpts from my book-in-progress, A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga!, posted a while back on the dedicated Facebook page and now transferred to this blog.

M.20 Couples Therapy


M.20 Couples Therapy. Composed: February 22nd. Posted: February 29th. Orientation: Reverse. Font: Arial. TB1: “How about couples therapy?”, black. TB2: “I don’t do feelings!!!”, black.


Another therapy-related meme. Not only does Robin acknowledge some sense of dysfunctionality in his and Batman’s relationship, he implies they are a couple. (See commentaries on M.27 and M.35 for further suggestions that the two of them may be intimately involved.) Given how they seem to be locked into a pattern of repeated abuse, it is brave of Robin to make the suggestion of couples therapy. (And see M.75.) Batman, however, contemptuously rejects the suggestion, on the grounds that he “doesn’t do feelings.” As Jennifer Matey (a philosophy professor at Southern Methodist University) pointed out in the comments to the post, Batman most certainly does ‘do’ one feeling, namely anger. (Matey’s sensitivity to the high degree of anger crammed into these memes is expressed in the comments to M.25, as we shall see.) This tension, between an attempt to renounce emotion altogether and the hypertrophy of one particular, often (though we should remember, not always) destructive emotion, is a staple of superhero culture – indeed, a staple of the culture of masculinity.

The toxic, hyper-masculine war on feelings and emotions also connects, in a roundabout way, with the logical and philosophical milieu of the artist. In graduate school, Evnine was drawn to a passage from Andrea Nye’s book Words of Power: A Feminist Reading of the History of Logic (1990):

Desperate, lonely, cut off from the human community which in many cases has ceased to exist, under the sentence of violent death, wracked by desires for intimacy that they do not know how to fulfill, at the same time tormented by the presence of women, men turn to logic. (175)

His interest in the passage, at the time, was as an object of ridicule, but given how well these words capture both Batman in this meme (and the superhero in general) and the stereotypical male logician (and analytic philosopher in general), we may perhaps surmise that the artist came to sense not a little truth in these words, at least as they apply to himself. Indeed, his very ridiculing of the passage as a much younger man probably betrayed an uncanny recognition of himself in an unexpected mirror. If such conjectures are not entirely ill-founded, this meme takes on an almost embarrassingly intimate and confessional tone.

Simcha Bunim/simkhe-bunim

When I first created the Yiddish Batman meme, I had to come up with a ‘Jewish’ name for Batman.


Robin: What is your Jewish name, Batman?
Batman: Call me *Mr* Batman, Boy Wonder.
And my Jewish name is Simcha Bunim.

I don’t now remember the exact thought process that eventuated in “Simcha Bunim,” other than that I wanted something that would sound a bit comic. (Apologies to anyone whose name actually is Simcha Bunim.) I see now, for reasons briefly mooted here, that I may have taken a first, tottering step towards vicious stereotyping at that point. The question of the meme’s relation to stereotyping is something I have now incorporated discussion of in the commentary on the meme. I was greatly helped on my way to this end by my ‘irascible’ expert (introduced here and further mentioned here). Truth be told, he came to the conclusion that my meme, in the light of the commentary (of which he saw an earlier, unreconstructed version), was “repulsive”! (You can see I am still processing the trauma of this.)

But the point of the present post is not to linger on that calamity, but to express my amazement at just how much there has been to say about the name “Simcha Bunim.” I wonder if I just got lucky and picked a name that raised so many interesting issues, or whether any name would have yielded comparable riches.


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M.12 “They’re Forgetting Slappy”

Here is one of the memes with the commentary that will form part of my book A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga!. (I published this on Facebook a while back but am now reposting it here on this blog.)

M.12 They’re Forgetting Slappy



M.12 They’re Forgetting Slappy Composed: February 24th. Posted: February 24th. Orientation: Reverse. Font: Arial. TB1: “It’s great! Now there’s also Love, Haha, Wow, Sad…”, black. TB2: “They’re forgetting Slappy!”, black.


This was created and posted on the day that a range of new reactions, to augment the thitherto solitary Like, were introduced by Facebook.

Evnine seemed to devote a lot of thought to Facebook reactions. On the same day on which this meme was posted, he wrote another status update in which, because the number of available reactions were now six, he suggested using a die to determine which reaction to use. (His friend and former student Ryan Lake thereafter consistently responded to the postings of the memes with apparently random reactions.) Later, on May 8th, Facebook rolled out another reaction, Thankful (only available in some places, and temporarily, in honor of Mother’s Day), and this prompted the artist to post the following remarks:

I see today Facebook has a rolled out a new ‘reaction’ option – Thankful. My first thought was to post a joke about being thankful for the new option. But I’m not a thankful person in general and I will never use it – so I’m not thankful for it. However, all those who are likely to use it will, no doubt, be thankful for it!

What about the self-applicability of the other options? I do like the Like option, but I don’t love the Love one; I merely like it, and use it frequently. I do not laugh at (or with), or find funny, the HaHa option, though if it had been designed differently, with more verbal panache,[1] I might have.

I am not wowed by Wow (though I often use it); it’s really commonplace in both design and function. And I am definitely not angry about Angry! As long as there are people who applaud between movements in classical concerts or who park across the sidewalk and force disabled people into the grass to get around them, we need Angry. So I’m thankful for Angry.

Am I sad about Sad? I am sad that there is sadness, and hence a need for Sad. But, as Gavin Lawrence[2] used to ask (and maybe still does! I hope so, because it made a big impression on me, so thanks Gavin!), am I sad that I or others experience sadness when their loved ones are sick or dying? Do I wish for a world in which no-one dies? Would that mean wishing for a world in which no-one was born, or one in which the world got more and more crowded? I don’t know. So I don’t know whether I’m sad about Sad.

Finally, a plea for a new reaction button (are you reading this Ariel?[3]): Grelling Paradoxical!

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Quotation, camp, and Lagadonian languages

In my previous post, I wrote about proper names versus descriptions and how that issue is inscribed in the world of Batman from the character’s very first appearance in 1939.

Another theme that will loom large in my books, and that also is prefigured in the very first appearance of Batman, is the use and nature of quotation marks. Some of my memes will derive their humor (or ‘humor’) from how quotation marks interact with punctuation, and from words appearing both within and without quotation marks in the same sentence. Quotation marks are one of the primary means we have in English (and in many other languages) for referring to language itself. At least on the face of it, they provide a simple and standard way by which we can refer to any bit of language – simply take that bit of language and put quotation marks around it. We will thus establish instances of the schema: Continue reading “Quotation, camp, and Lagadonian languages”

Names and descriptions

When I composed the bulk of my Batman memes, between January and March 2016, I knew very little of Batman except the 1960s TV series, which I loved and which defines the characters of Batman and Robin for me. (One of the memes uses the image of the Joker, as played by Cesar Romero


and another that of Burgess Meredith’s Penguin.) In preparing to write my book A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga!, I thought I should rectify that and so I was happy to find a recent book had been published on the history and cultural significance of the various incarnations of Batman – The Caped Crusade: Batman and the Rise of Nerd Culture, by Glen Weldon. From that book, I learned that several of the themes I will deal with in my book are in fact pre-figured in the Batman corpus from the very beginning.

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{ !?!? } / { } !?!?

In my previous post, I included an animated gif which used three panels: an initial one which occupies the full space of the image, and two others which appear, one after the other, inside the larger one. (The larger one does undergo some change of its own, too, when the smaller ones are embedded.) The smaller, embedded panels function as ‘footnotes.’ When the second of the two smaller panels is embedded, Batman’s text in the larger panel reads ” { !?!? }**” and his ‘footnoted’ text in the embedded panel reads “** = { } !?!?”.


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