Escapism

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Not to be confused with Escapology, the art of escaping physical means of restraint.
For other uses, see Escapism (disambiguation).
King Ludwig II of Bavaria was an escapist who used to "escape" into the world of Wagnerian mythology.[1] A caricature portrays him as Lohengrin.

Escapism is mental diversion by means of entertainment or recreation, as an "escape" from the perceived unpleasant or banal aspects of daily life. It can also be used as a term to define the actions people take to help relieve persisting feelings of depression or general sadness.

Debate: good or bad[edit]

Entire industries have sprung up to foster a growing tendency of people to remove themselves from the rigors of daily life – especially into the digital world.[2] Many activities that are normal parts of a healthy existence (e.g., eating, sleeping, exercise, sexual activity) can also become avenues of escapism when taken to extremes or out of proper context; and as a result the word "escapism" often carries a negative connotation, suggesting that escapists are unhappy, with an inability or unwillingness to connect meaningfully with the world and to take necessary action.[3] Indeed, the OED defined escapism as “The tendency to seek, or the practice of seeking, distraction from what normally has to be endured”.[4]

However, many challenge the idea that escapism is fundamentally and exclusively negative. C. S. Lewis was fond of humorously remarking that the usual enemies of escape were jailers;[5] and considered that used in moderation escapism could serve both to refresh and to expand the imaginative powers.[6] Similarly J. R. R. Tolkien argued for escapism in fantasy literature as the creative expression of reality within a Secondary (imaginative) world, (but also emphasised that they required an element of horror in them, if they were not to be 'mere escapism').[7] Terry Pratchett considered that the twentieth-century had seen the development over time of a more positive view of escapist literature.[8]

Psychological escapes[edit]

Freud considered a quota of escapist phantasy a necessary element in the life of humans: “they cannot subsist on the scanty satisfaction they can extort from reality. 'We simply cannot do without auxiliary constructions', as Theodor Fontane once said”.[9] His followers saw rest and wish fulfilment (in small measures) as useful tools in adjusting to traumatic upset;[10] while later psychologists have highlighted the role of vicarious distractions in shifting unwanted moods, especially anger and sadness.[11]

On the other hand, if permanent residence is taken up in some such psychic retreats, the results will be negative and even pathological.[12] Drugs cause some forms of escapism which can occur when certain mind-altering drugs are taken which make the participant forget the reality of where they are or what they are meant to be doing.

Escapist societies[edit]

Some social critics warn of attempts by the powers that control society to provide means of escapism instead of actually bettering the condition of the people - what Juvenal called “Bread and the Games”.[13] Escapist societies appear often in literature. The Time Machine depicts the Eloi, a lackadaisical, insouciant race of the future, and the horror their happy lifestyle belies. The novel subtly criticizes capitalism, or at least classism, as a means of escape. Escapist societies are common in dystopian novels; for example, in Fahrenheit 451 society uses television and "seashell radios" to escape a life with strict regulations and the threat of the forthcoming war. In science fiction media escapism is often depicted as an extension of social evolution, as society becomes detached from physical reality and processing into a virtual one, examples include the virtual world of OZ in 2009 Japanese animated science fiction Summer Wars and the game "Society" in the 2009 American science fiction film Gamer.

German social philosopher Ernst Bloch wrote that utopias and images of fulfilment, however regressive they might be, also included an impetus for a radical social change. According to Bloch, social justice could not be realized without seeing things fundamentally differently. Something that is mere "daydreaming" or "escapism" from the viewpoint of a technological-rational society might be a seed for a new and more humane social order, as it can be seen as an "immature, but honest substitute for revolution".

Escape scale[edit]

The Norwegian psychologist Frode Stenseng has presented a dualistic model of escapism in relation to different types of activity engagements. He discusses the paradox that the flow state (Csikszentmihalyi) resembles psychological states obtainable through actions such as drug abuse, sexual masochism, and suicide ideation (Baumeister). Accordingly, he deduces that the state of escape can have both positive and negative meanings and outcomes. Stenseng argues that there exists two forms of escapism with different affective outcomes dependent on the motivational focus that lays behind the immersion in the activity. Escapism in the form of self-suppression stems from motives to run away from unpleasant thoughts, self-perceptions, and emotions, whereas self-expansion stems from motives to gain positive experiences through the activity and to discover new aspects of self. Stenseng has developed the Escape scale to measure self-suppression and self-expansion in people´s favorite activities, such as sports, arts, and gaming. Empirical investigations of the model have shown that:[14]

  1. the two dimensions are distinctively different with regards to affective outcomes,
  2. that some individuals are more prone to engage through one type of escapism, and
  3. that situational levels of well-being affects the type of escapism that becomes dominant at a specific time.

Escapism During the Great Depression[edit]

Alan Brinkley, author of Culture and Politics in the Great Depression presents how escapism became the new trend for dealing with the hardships created by the stock market crash in 1929. Brinkley comments on how [magazine]s, the [radio], and [movies], all aimed to help people mentally escape from the mass poverty and economic downturn. ''Life'' Magazine which became hugely popular during the 1930s was said to have pictures that give “no indication that there was such a thing as depression; most of the pictures are of bathing beauties and ship launchings and building projects and sports heroes--of almost anything but poverty and unemployment”. The main goal of media at this time was to lift peoples spirits and allow them to escape mentally from the very distressing reality. Through an activist standpoint, the media ended up causing more harm than good. It did allow the very few who were unemployed to have limited access to stress relieving media which positively affected morale. More significantly, it impacted those least affected by the depression by allowing them to turn a blind eye to those suffering around them. Movies were the biggest culprit. Hollywood purposefully set out to produce movies with comedic plot lines. A famous director, Preston Sturges, aimed to validate this motion by creating a film called Sullivan’s Travels. The film ends with a group of poor destitute men in jail watching a comedic Mickey Mouse cartoon that ultimately lifts their spirits. Sturges aims to point out how “foolish and vain and self-indulgent” it would be to make a film about suffering. Therefore movies of the time more often than not focused on comedic plot lines that distanced people emotionally from the horrors that were occurring all around them. These films were “consciously, deliberately set out to divert people from their problems”, but it also diverted them from the problems of those around them. The mass media was a great thing, especially movies, that some say “staved off revolution, because they had worked to make people happy”. This is valid, but the downfall that most people do not realize is that it also impeded those most capable of helping America rise out of its depression from realizing there was even a need to do so.

[15]

See also[edit]

References[edit]

  1. ^ Workman, Leslie J. (1994). Medievalism in Europe. Boydell & Brewer. p. 241. ISBN 9780859914000. 
  2. ^ G. Kainer, Grace and the Great Controversy (2010) p. p. 35
  3. ^ D. Baggett et al, C. S. Lewis as Philosopher (2009) p. 260
  4. ^ Quoted in T. A. Shipley, The Road to Middle-Earth (1992) p. 285
  5. ^ G. Kainer, Grace and the Great Controversy (2010) p. p. 34
  6. ^ D. Baggett et al, C. S. Lewis as Philosopher (2009) p. 260
  7. ^ T. F. Nicolay, Tolkien and the Modernists (2014) p. 79 and p. 66
  8. ^ Terry Pratchett & Stephen Briggs, The Discworld Companion (2012) p. 329
  9. ^ S, Freud, Introductory lectures on Psychoanalysis (PFL1) p. 419
  10. ^ Otto Fenichel, The Psychoanalytic Theory of Neurosis (1946) p. 554
  11. ^ D. Goleman, Emotional Intelligence (1996) p. 73
  12. ^ R. Britton, Belief and Imagination (2003) p. 119
  13. ^ Juvenal, The Sixteen Satires (1982) p. 207
  14. ^ http://www.sv.uio.no/psi/forskning/aktuelt/arrangementer/disputaser/2009/stenseng_frode/stenseng_frode_vit.html
  15. ^ Brinkley, Alan. Culture and Politics in the Great Depression. Waco, Tx: Markham Press Fund, 1999. http://www.uvm.edu/~pblackme/Brinkley.pdf

External links[edit]