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Giovanni R. F. (John) Ferrari
Professor
Department of Ancient Greek & Roman Studies
Where did you receive your degrees? And what did you study?
I received all of my degrees from Cambridge University in England.
I did study for one year at Harvard on a Kennedy Scholarship, which is like a Marshall, but in reverse—it’s for getting British people to study in Ivy League American universities. But I wasn't working towards a degree, technically the status was special student, actually. It was a great year—I sang in the Harvard Glee Club and went on a Pan-American tour in the summer there.
So that's probably why I'm here sitting with you today as an American citizen. That time in Boston made such an impression on me that when the opportunity to take up a position at Yale emerged at the end of my PhD in the philosophy department there, I happily took it in preference to an opportunity that I had available back in the country where I'd grown up. I wanted to start the adventure again, not realizing that I'd never return. But that's how these things happen. So I then spent 10 years at Yale as a junior professor in the Philosophy department. At the end of that period, the Classics Department at Berkeley (now the Department of Ancient Greek and Roman Studies) encouraged me to apply for a position that had opened up. I did, and I got tenure here, and have since moved up the ladder. I've never been anywhere else. I came to Berkeley in 1988 so in a couple years time, I'll have done 40 years of service. Well, it's—I shouldn't just say a couple—I came in 1988 and it's 2024 now. So I guess I've got another more, like three or four to go. God is it that long? I thought it was gonna be sooner, but yeah, I'm plodding along towards my 40 years.
I was hired as one of two ancient Greek and Roman philosophy specialists in the department. We have a joint program in ancient philosophy with the Philosophy department as well. Though in recent years, we have lost some faculty. So it was more taken for granted that, of course, you need to be teaching philosophy in a classics department when I came here than it is nowadays. That is one of the general changes in the intellectual atmosphere in this country since I started.
But yes, so in our department we take pride in teaching at all levels. No one is confined to teaching graduate students only. We all teach, beginning big lecture classes, beginning language classes, and also seminars, advanced undergraduate classes. I divide my time between big lecture classes, like AGRS R44 and senior undergraduate classes of about 30 people, discussion based classes And then [I teach] graduate seminars and early stage ancient Greek language.
As for the topics that I teach, they range between ancient Greek politics and ancient poetics. So I'm interested in art, theory of literature, politics and ethics, and religion, but I have never specialized or emphasized the side of philosophy that is more epistemology or logic—the side of philosophy that veers towards mathematics. Because of the system in which I grew up in England, I stopped taking mathematics of any kind at the age of 16, if you can believe that. But that's always been a regret. When you're an undergraduate in British universities—certainly when I went to university—it's like going to graduate school in this country. You do nothing but your major, nothing but the subject that you've elected, which, in my case, was ancient Greek and Roman studies classes.
Hmm, let's see. So, Classics is just limited to ancient Greece and Rome, those times. Within that, you can study literature, philosophy, art and architecture, history, and linguistics, and I was interested in lots of those branches, especially literature. But the reasons I turned to philosophy were not especially good reasons—I thought the professors in philosophy were the best ones. They struck me as the most exciting and smart, basically. The subject itself seemed to be the most challenging of those branches, and I wanted the biggest challenge I could get for myself. That's what got me into philosophy. It's not that I found it more interesting than literature—it was about evenly divided. But then I learned to love philosophy the more I did it. And so I then became a true believer, in that sense, in the worth of studying philosophy.
Why did I get into being a professor? I don't want to pretend I was on some kind of crusade or anything. Sometimes, for many people, it is simply the path of least resistance. You know, you're enjoying your studies immensely, and the way to keep that going and never leave school is to become a professor. Certainly, there was an element of that in what I did because I was always good at foreign languages, and I kind of liked to collect them and learn as many as I could, especially the ones with strange pronunciation. I flirted with the idea of becoming a teacher of English as a foreign language, and traveling from country to country, becoming one of those nomads in my 20s. In the end, I didn't do it, and just applied to graduate school instead.
Looking back, I have to admit that I was an awful teacher and had a real baptism of fire in my first couple of years at Yale. I almost gave up because I wasn’t taught to teach in the British system, and I didn't do much teaching. Here, our graduate students—as you may know already—finance themselves. We give them fellowships, but we also give them GSI-ships, and they get a salary for that. They learn to be teachers that way, so they come out of graduate school with years of experience. And many of them, I'm just astonished at how good they are. It's one of my duties, to go and sit and inspect how they're teaching, and I'm often quite humbled by how much better they are than I am at certain aspects of the job, you know. I never had any of that, because I was at Cambridge. Maybe it's different in other British universities, but Cambridge is divided into colleges, and each college is like a small community. I mean, professors did give lectures, but they mostly gave supervision and tutorials to, you know, really tiny numbers of students at a time. So I had no experience in handling the kind of numbers that I was faced with in American Schools, or how to hold the attention of a class, or how to vary the pace. I thought that if I just gave them my own thoughts on reading this or that book, reading them out from a copious sheaf of notes… I was just droning on. I got terrible teaching evaluations in my first year, and it was my wake-up call. By the end of my 10 years at Yale, I’m happy to say I won a teaching prize — but I really had to learn to turn on a dime. America gave me that, you know. Britain probably wouldn't have—I would have been allowed to coast in my rather pompous ways that I'd gotten into the habit of. So I'm very grateful to America for giving me the chance to improve my teaching.
And I do find now—you know, I could retire tomorrow if I so chose—but one of the things that keeps me in the job most is teaching undergraduates. Because in the kind of classes that I teach a lot of the time, I'm not teaching majors. I'm teaching people like you guys. Even when I'm teaching classes that have DAGRS majors in them, you're not careerists yet. Or if you are careerists, it's because you want to become computer scientists or the next tech billionaire or whatever. But you're not careerist about academics, whereas when you teach graduate students, academic politics gets involved. So it's a purer experience with the subject, if someone is a computer science major and then comes to one of my classes for the humanities breath. They're just doing it to get their humanities prep, I realize that, but they're also generally choosing a class of mine out of interest, because I don't teach the easiest of classes. And that gives a kind of purity to the teaching experience that I prize and don't want to give up.
Oh no, I certainly do. I am influenced by the fact that philosophy for the ancients was a way of life, as you have heard me say in class. This is also, I should say, just part of my background growing up in the 60s and 70s in Britain, more so than even in America. I think because America to this day is a more religious country than the UK ever was, in my experience. Though I went to a Catholic school, the effect it had on me was to make me rebel against religion. It was very easy to rebel against religion, most certainly at university. And Philosophy taken as a way of life, can be a kind of religious life, in that sense. It means you're not afraid to speak about God when you're talking about ancient philosophy. And it has been my path back to reopening myself to—you know, you're not talking to a devout, practicing Christian here or anything—but I have turned back to religion, as many people do as they age, and it's been through the path of Greek philosophy.
And a big reason I’m interested in Plato in particular, among Greek philosophers, is because, as I said, I'm very interested in literature, theory of literature, and aesthetics. And Plato is a philosopher who writes his philosophy in literary form, in dialogue form and is himself a great thinker about literature. So that was one reason why I gravitated towards Plato. That's also a reason why I did not gravitate towards history, even though some historians in the ancient world, of course, wrote extremely well and compellingly in a literary way. But I'm just always interested in the form of a work, not just its content.
Sure. So, for example, he wrote a dialogue called the Phaedrus, which is what I wrote my dissertation on. And it uses the experience of falling romantically in love with someone and turns it in the direction of the philosophic life, by saying that
falling in love makes philosophers of us all, if only for a moment. It may be temporary, right? Because falling in love is often a temporary kind of thing, but for a while, when someone is truly in love with someone else, there's a sense of the sacred that comes into it,
right? You would not want to violate that other person. You want to treat them as something precious.
Plato has this scene where the soul, the lustful impulse inside of the guy is making him want to basically jump on this beautiful person that he's falling in love with, and his higher faculties don’t say, “if you jump on this person, that's not going to be a very successful day, and if you really want to get them, here's how you should do it.” No, it doesn't calculate like that, even though this is the reasoning part of the soul. In Plato, the reasoning part of the soul doesn't just write computer programs, it isn't just a super logician, or whatever. The reasoning part of the soul is figuring out what makes life meaningful — and you can't make life meaningful by just yielding to impulse. But luckily, we have a higher part—a God-like part, he calls it—which wants life to be meaningful. So the reason that the person does not simply jump on this beautiful other guy that he's falling in love with is because that would be a violation of the sacred. The way Plato puts it poetically is that he has a vision of the form of beauty that he had in his disembodied existence before he came into this world.
And this is terribly topical at the moment, because I happen to have seen on the news about this OnlyFans girl that had sex with 100 guys in one day, and now wants to break the Guinness world record by having sex with 1000 guys in one day. There's a clip online that I saw, she's talking about it with her [mum]. It's just an awful story, because her mother is basically her financial manager and is pimping her out basically, let's face it. And the girl actually started to tear up, you know, when she was describing that. She couldn't describe what it was like, and she clearly felt bad about it, so that was significant to me, and that's a perfect example of, you know, she has violated what is sacred, and she kind of knows it on the inside. I think it's not going to stop her, with all these people pushing it, you know—breaking the record, no doubt. But it was sad. And Plato is the kind of philosopher that will talk about stuff like that and rise above the fray. That's why I love him.
Moving on to your experiences in the US, why did you move to the United States specifically, and how did such an international experience impact you? And did you initially experience any cultural differences when you first moved here?
Why did I come to America? Because I had a great time that year at Harvard. And so when I had to choose between a professorial opportunity in Britain and one at Yale, I chose America. Not because I had always set my heart on America, but because I thought, let's give it another try. I mean, I had a great time before, maybe I'll have a great time again.
As I told you, my first two years were very far from being a great time, but thankfully, I persisted, and then I found lots and lots to like about America when I came back. I liked the university system. I liked the way graduate education was less specialized, and undergraduate education, of course, even less specialized. I thought that America made students into more complete people than I had seen Britain doing. There were plenty of very well-rounded British students back then, but the system can lead to someone like me who was just really—what you would call in British slang—a swot. It’s not so much that I was an actual nerd, as that all my self-validation came from being an excellent student, being top of the class, doing well in exams and that kind of thing. So I found myself being valued as a swot. Whereas in this country, yes, you're more likely to get denounced as a teacher's pet in the scholastic environment, but the British system tempted me to do nothing but that.
In the early days, when I came to America, it made me more adventurous and willing to try stuff that I'd never tried. I started going to auditions! I'm a terrible actor, you know, I never got anything, but I went to auditions. I would never have done that in Britain. I did a lot of dancing. I did a lot of singing. I became a “song-and-dance man,” you could say, in ways that I did not back in Britain. I liked that encouragement to adventure, which in part was just because here I was—this Brit—but I think it was honestly, you know, America itself genuinely encourages that kind of thing.
What else about America? Oh well, again, this is not the most noble of reasons, but back then especially—I've lost some of my accent now, but not all of it. I still retain enough of it where everyone can hear that I'm not from here when I open my mouth. Back then, you know, that made me cool! And I was in my late 20s. I wasn't cool where I came from—suddenly I was cool, right? So I enjoyed that aspect of it as well. Then I married and sobered up.
Came to California, that was…well, at first, there was this terrible disappointment. I had no idea about climate differences in California, so I thought I was coming to some golden California beach culture or something. And when I discovered coastal fog, I felt like I was brought here on false pretences. When I first went to meetings and stuff at Stanford, I would always tell people, “Berkeley is Berkeley, but Stanford is California.” And that meant something wonderful to me because I love the sun. But on the other hand, you know, I often tell people that I'm here for the groceries. I mean, I love the food culture around here.
And of course, I found a different kind of diversity here than at Yale. At Yale, I mean, New Haven is a very Italian town, but the Italians come from a different part of Italy than my Italian background. I’m of Italian origin all the way through—both sides, my grandparents were immigrants — but they're from northern Italy. Most Italian immigrants to America, certainly to the East Coast, are from Southern Italy or Sicily. So people would take me to Italian festivals to say, “Oh, you're going to love this.” But I found it quite foreign. You know, sort of—
what the hell is a calzone!?
I did not grow up with that kind of Italian food, because the different regions of Italy have quite different Italian food.
Then I came here, and of course, there was much more diversity of Asian students and Asian culture, which I absolutely fell in love with—literally so: my wife is Japanese. British people who grew up in Britain and became academics that I know have stayed in much closer contact with British culture, and some of them even retire to Britain. But I became an American citizen, and I would never even consider trying to retire to Britain. I go back there almost exclusively to see family who are still there.
I think we specialized too early in the British school system. So, I defend the superiority of the American system in that regard. In college, I was studying only classics. I was in tutorials with big professors in my subject who were in my college, and other fellows of the college who did my subject. It was kind of like a family—they invited you to their homes, they had cocktail parties and things like that—and the teaching was very intimate because of the small numbers. So, my Director of Studies was like a father figure, you know, in terms of guiding my studies. The pastoral aspect of teaching was taken very seriously. And that's very good; you can't get that at Berkeley. People can try and make their niche in that way, you know, like in our department, because we are smaller. You can get something like that experience, but nothing comparable to what Oxford and Cambridge can provide, because they are a combination of [colleges] in a giant university, and each college is like a single liberal arts college in the States. So that's special—I guess that’s something I'm glad I had.
On the other hand, the bad aspect is that it can make you a snob. I was much more of a snob as a Cambridge undergraduate. I remember a guy from where I’d been in America—we were in the dining hall in my Cambridge college—an American guy who I'd met in the Boston year, and who had come to Cambridge as a visiting student. And we were having a conversation. I noticed he was giving me a really beady look, you know. He just looks at me and says, “What makes you so stuffed?” And I realized that, well, he had a point—I was talking like a snob. I forget what I said back, but I'll never forget what he said, and that I kind of half-agreed with him, and that it affected me. I was a bit of a snob. And I certainly shouldn't have been, because at that time I’d only been to America for a year, you know, but I thought that made me a kind of expert in America. The American school system makes sure you don't feel that way about yourself, perhaps. In general, I'm very happy that I made my career here. England is a smaller place, it's parochial in many ways—“Great Empire” though it once was. I found I could spread my wings more here.
What do you envision doing in the next few years at Berkeley?
Retiring!—at some point…or maybe not? But of course I will at some point. As I said, what really keeps me here is doing more of the same in terms of undergraduate teaching, because I feel I have to, you know, always try to get better and better at teaching. Every year I ask “how did I screw up this semester,” and “how can I make sure I don't do that next semester?” But basically, I want to sort of keep doing what I'm doing because it's really enjoyable. So long as the students keep on seeming to enjoy it, I will, you know, I'm not in a hurry to stop doing that.
I'm editing a new book, a collection with 12 other Plato scholars, with the theme of “Plato and poetry,” “Plato and literary studies.” So that's a project that's going to keep me going for the next two or three years. I’m going to China for the first time in the summer of 2025, giving a series of lectures in Beijing. So I'm trying to learn a few phrases — what were they, now? Things like 谢谢 (xiè xiè; thank you), 对不起 (duì bù qǐ; sorry). I'm still conducting adventures and still learning new languages wherever I can.
Oh, not that many. I shouldn't make it seem like a lot, but the languages that I speak are Italian and French. I manage in German, because I learned that at school, and then, of course, Latin and Greek. Did a little bit of Hebrew. I learned enough Japanese to talk with my wife, but I'm by no means some kind of fluent Japanese speaker.. And because I know Italian, I can manage in Spanish.
(Celina) And some Chinese.
Some Chinese! What is it? Oh, god, it's so difficult because of the tones. (我会说一点儿中文 wǒ huì shuō yì diǎn/er zhōng wén; I can speak a little bit of Chinese) Can you understand?
(Celina) Yeah, you have a little Beijing accent.
Oh, really, yeah. Well, I'm doing Yoyo Chinese with Yangyang. She's great online.
Gardening. So exciting, so cool! I like to garden. I'll even plug an article that I wrote called The Meaninglessness of Gardens, which is probably the thing that I've most enjoyed writing. And the title is provocative—I love gardens, because they are meaningless, but just so beautiful. I also like learning languages and going to nice restaurants from time to time. Like “Boulevard,” it's right near the Embarcadero Bart. They've been going for years, and they never relax their standards.
Well, yeah, you heard me recommend Kaos, right? And, you know, with the Netflix shows I tend to find ones that I really enjoy but then I forget about them after — but of course, the ones that stick with you are things like Breaking Bad and so on that everyone knows. Oh, for students that don't mind reading subtitles or know Italian, I really have enjoyed recently La legge di Lidia Poët—which means The Law, according to Lydia Poet. It's quite contemporary in its theme, even though it's set late in 19th-century Turin, and it’s based on a true story. Lidia Poët got a law degree and then was not allowed to practice because she was a woman. It's played a little bit for laughs. She is a knockout actress. And it's sexy. It's gorgeously done because she's wearing a different outfit for every episode. It’s set in Turin, where the city center is well preserved. It's just lovely to feel like you're in Turin, and you’re surrounded by the beautiful Italian language. You've got these beautiful people, and then there's a whole political message. So if you don't mind reading subtitles, I recommend that one.
Oh and you didn't ask me for my favorite book. I want to get my book recommendation out for sure! It’s Flann O'Brien’s The Third Policeman. It's one of the funniest books. He's an unbelievable writer. He's a very funny Irish writer, a bit later than James Joyce — a mid-20th century Irish writer. It's a very compelling kind of thriller with a great twist at the end.
Interviewers: Celina Wang, Phuong Nhi Tran
Transcript: Amy Guo, Celina Wang, Jacky Li, Phuong Nhi Tran, Sophie Luk
Design: Phuong Nhi Tran, Sophie Luk
Special thanks to Professor John Ferrari!