Repetition and Divine Indifference in Psalm 42. By Randi Rashkover, George Mason University
|
|
- Domenic McBride
- 5 years ago
- Views:
Transcription
1 Repetition and Divine Indifference in Psalm 42 By Randi Rashkover, George Mason University The following discussion functions within a mode of thinking common to work in scriptural reasoning. In particular, I think of the following remarks as what I will call afterreflection or after-thought.' Quite some time ago, Peter Ochs, Steven Kepnes, and Robert Gibbs composed a slim volume called Reasoning after Revelation: Dialogues in Postmodern Jewish Philosophy, not only coining a new term but courageously developing Karl Barth's notion of 'nach-denken,' or 'after-thinking,' to describe the exercise of reflection characteristic of Textual Reasoning and, now, Scriptural Reasoning. Here I continue to engage this trope. However, I want to suggest specifically (though this was clearly implied in the conversations charted in that book) that the after-reflection characteristic of Scriptural Reasoning bleeds into all forms of thought that can take place 'after' SR study. In this piece, I will experiment with after-reflection for what I consider a kind of SR philosophical thinking, but one need not consider philosophy or theology as the only possible branches of after-thought. There are many possible modes of SR afterthought, but the more pressing question is what characterizes 'after-reflection.' Here, I only want to make a few initial suggestions - suggestions that I hope will be taken up and explored by others. On the one hand, by 'after-reflection' I mean nothing more mysterious than the notion that through SR, we discover that our thought presupposes what has 'already' been thought. We might say that Scriptural Reasoning reflection (during and 'after') happens 'after' divine thought, 'after scriptural thought, after commentary, after discussion of commentary. As well, this 'after' or 'already' of thought within which reflection happens points to what we might call an exponential future of thought, the adding-on to which is the inevitable result of the accrual of perpetual 'afters. Still, 'after-thought' so considered need not only imply a succession of thought, but it can also point to a notion of thought as 'reflection' - whether by reflection we mean a reproduction of parts of what has 'already' been thought, or a 'turning over' - a reconsideration of that which is prior. In either event, after-thought is by virtue of its indebtedness to what comes before, never fixed, always responsive, animated, effected and relational. The remarks that follow embody both of these features and may serve as an example for a kind of thinking and writing that can take place as a response to the practice of scriptural reasoning. I. Initial After-Hypothesis In my initial writing session, I advanced the following hypothesis (or 'after-hypothesis ): Oded Zehavi's musical composition functions as a response to the psalmist s cry - the psalmist s question. More specifically, it is a response which we might characterize as offering a 'non- 1
2 relational relation'. The piece is not only a response to the content of the psalmist s question - Where is the living God for whom I long? - but to the grammar or the form of the question: the interrogative. The psalmist s interrogative posits a language which waits, therefore vacating its own announcement. That is what a question is: it is a vacating of one s announcement by way of a waiting for another announcement, and the psalmist positions himself in this grammar, in this vacancy. It seems that the vacancy endures in the daylight of deed and also in the prayer of night. In other words, the question persists. Before detailing the particular reading I offer, let me specify a bit more what a nonrelational relation' might be. Four possibilities present themselves, though certainly many more could be developed. It is worth noting that the four possibilities presented here derive from both my own considerations and the considerations of the following written papers presented by Mark James and Kevin Seidel. 1.) A non-relational relation could mean a parallel but not directly engaged response - i.e., a filling up of the vacancy, but not by way of correlation with the question or interrogative. Rather, it is a more-saying afforded by the music that is itself a filling-up of linguistic space but that is not relational to the particular emptiness announced by the question. 2.) A non-relational relation might refer to a 'relation' in the sense of context or whole. Seen from this perspective, the music might be said to provide an order within which the interrogative operates. 3.) It could mean a co-presence which, because it is not relational, does not share in the identity of that with which it has a relation - for example, a monadic co-presence such that the music were one monad and the text - i.e., the interrogative - another. So understood, the two forms stand next to one another but do not interact, nor do they share features other than that they both occupy time (although how would need further elaboration) and space. 4.) Finally, non-relational relation might refer to a metaphysical context of radical indifference to that which exists within it. Such a metaphysical context would therefore differ from the aforementioned notion of context or order so far as it would exceed any order it might contain, becoming more than the sum of the parts which constitute a unity. In the context of the discussion below, I will look into each of these formal possibilities in consideration of the hypothesis that Zehavi's piece alters the grammar of the interrogative, that it musically scripts what I call a non-relational relation in the piano s part, with the repetition and pattern of its chords, and in the cello s part, i.e. its elongated notes and horizontal overlay on the piano chords. 2
3 II. The Music A. The Piano Chords This discussion will consist of two parts: a description of the character of the chord repetition and an examination of what it might mean to suggest that they operate in a nonrelational relation to the psalmist's question. The most noteworthy feature of the piano chords is their repetition. Such repetition grounds and generates our anticipation of recurrent chords. Subsequent chords which do arise, however, presuppose and constitute a memory or signify the prior chords from which or out of which they follow. Chords relate together like pearls on a string; the earlier suggest the later and the later refer back to the earlier. Such a pattern of repetition does not, however, preclude alteration in the string of pearls, for alteration remains possible provided that there is repetition of some sort prior and after. Said otherwise, novelty remains possible as long as the new moment introduced bears a relation to a moment prior, constituting a kind of partial memory. In his piece, James notes an example of such apparent novelty which is immediately resituated into rule. The piece, he tells us, ends with a C which, though ambiguous and dissonant, nonetheless "remains comfortably within the E minor framework of the song s closing section." If we analyze this for a moment, we might say that the repeated piano chords operate similarly to written and spoken language. Language, we might speculate, works on at least two conditions: 1.) the perpetual relation between words/letters (in a sentence or in a string of sentences) prior and words/letter after 2.) the rule-governed repetition of letters and words which constitute the before and after within a phrase, sentence, or string of sentences. Both chords and language therefore function by repetition or rule. Alternatively, we might introduce a second analogy which more deeply illuminates both language and music. We might say that the repetition/relationality of the chords and/or language operate organically. Why do I say organically? Because the repetition is a demonstration of both continuity and the need for continuity. Repetition in both the chords and language works like a heartbeat. The heart beats continuously - it repeats over and over - and its repetition constitutes its vitality, its longevity, its continuation. Still, it is also the case that, from heartbeat to heartbeat, there is a hollow, a privation, a moment of non-heartbeat and a prospect of end - of nothing. Perhaps we might say there is a novelty that cannot be reintegrated into a rule. Of course, it then becomes interesting to consider the extent to which novelty marks the nothingness of vacancy or the prospect of new life. Without the perpetual repetition of the next beat, there is nothing - no more life. Life is constituted by a repetition that strives or aspires to overcome the ever-present possibility of vacancy. Both language and the chord repetition seem to mimic this exercise of life. The repetition in both language and in the chords seems to bury the prospect of no-language or nosaying. Both seem anxious to overcome the prospect of vacancy suggested by the interrogative 3
4 (more on this below). Indeed, both language and the chords exploit rhythm; that is, both manipulate time through rhythm in such a way that the apparent 'emptiness' of 'quiet' time (announced in the interrogative) is appropriated as a moment within the relations between letters or words or chords - i.e., what was an 'empty' moment of no-saying or no-sound is taken up as a modifier of either a word, sentence, or chord relation. Both language and the chord repetitions 'take' time and 'organize' time. They 'use' time and render it a supplement or feature of language or music. The above consideration of repetition in language and in the musical chords presents us with a question regarding relationality as organic. It seems that the relationality implicit within the repetition found in both language and in the chords is a relationality characteristic of life. With this observation, we might pose two immediate questions. Is it the case that the relationality discovered in repetition (in language and in the chords) is an 'organic' relationality - i.e., a relationality characteristic of life, of what lives? And if relationality is a characteristic of what is organic, does the organic qua vitality presuppose the prospect of non-vitality - i.e., is relationality a characteristic of that which is non-eternal? Could we not imagine a relationality or vitality that is not challenged by a non-vitality, but rather a relationality of what always perdures? In other words, is relationality a feature of finitude, or does such finitude preclude the possibility of a kind of infinity? I leave these as questions for the time being. But how does this description of the chords help us to consider the relation between Zehavi's piece and the psalmist's question? How might we think of the chord repetition in the music as a response to the interrogative expressed by the psalmist? Recall my earlier suggestion that the interrogative of the psalm introduces a waiting, a vacancy. (One can imagine an existential anxiety accompanying this grammar - Will life go on? Will there be relation? Will there be a 'more' without which there is nothing? expressed by the interrogative.) Certainly, it seems that both the chords and language more generally also presuppose a waiting - a hollow or an emptiness. In what follows, however, I will suggest that the emptiness of the former is not the same as the emptiness of the latter but is, in fact, transposed by it. The chords, I will suggest, present what I earlier referred to as a non-relational relation to the interrogative. More specifically, of the four possible understandings of non-relational relation introduced above, two of them apply to the role of the chords in Zehavi's piece. What is it that distinguishes the vacancy present in the interrogative and that which appears in the space between the chords? The most immediate difference we may note is that the emptiness of the interrogative 'remains. This is definitional here. The 'question' is exactly the announcement of waiting, of open-endedness, of the anxiety that accompanies the inability to anticipate what might be next. Conversely, the emptiness of the space between the chords is an emptiness that operates as a sign of what comes next. The emptiness functions as a 'bridge' between two moments of relation, which together constitute a unit of meaning, a unit of a semantic something, however undefined or indeterminate - a something that can be interpreted or considered. 4
5 To say, however, that the emptiness of the one differs from the emptiness of the other is not the same as saying that there is no relation between the chords and the interrogative. The chords fill up the empty space of the interrogative. They 'speak' or offer a 'saying' that nonetheless does not communicate directly to the empty space of the psamlist's question, much in the way that the repetition of God's greatness and glory in the Mourner's Kaddish fills the space and the time of the mourner but does not take up the sadness of the mourner. The chords do not prepare or stage an additional space or opportunity for a subsequent reply by the psalmist. They simply fill the emptiness with a 'more, a 'something' that has past and has future: the more of life. That such a 'more' retains its own fragility is left for consideration. Such a more may signify an eternal more whose repetition always and everywhere appropriates the time between. Such a more may amount to nothing other than a finite or even infinite string of finite relations. The organic character of the relational more may point to an inhuman (divine? natural?) more in any number of senses worth considering. In any of its possible variations, however, such a more operates in a non-relational relation to the psalmist's question; it 'affects' the question without acknowledging it. Still, we might consider a second possible understanding of what it means to describe the chords as offering a non-relational relation to the psalmist's cry, one implicit in my description of the repetitious character of the chords and brought into higher relief by James's comments. In his initial comments, he says the following: More striking to me is that Zehavi attempts to offer a kind of resolution to the elemental crying with which he begins. He clearly does not envision the possibility that soul s churning can simply be overcome, the self and its relations to others and God neatly wrapped into a simple chordal triad. But his piece does slowly carve out a determinate space his E minor a background of sense against which the cries of the second half of the song become both meaningful (because against the background of a kind of regularity) and more manageable If the self is like a piece of music, its unity will not be that of an underlying substance, but the possibility of repeating patterns in time, of rhythm and harmony into which discord too can enter without the threat of the self completely dissolving. Perhaps Zehavi is evoking the order which the psalmist finds in God in his memories of what was, in today s cataracts, in his night-song, and in his hope that the future may yet contain praise for God. Recall model two of non-relational relation introduced above, namely a non-relational relation of a context or order within which elements or laws operate. The above comments by James help to illustrate how such a model may emerge from a recognition of the repetitive character of the chords. Specifically, Mark speculates on the notion of the chord repetitions as constitutive of a 'unity' or a 'whole' (my word) which, though non-substantive, nonetheless 'houses' all moments, including that of the psalmist's cry. Such an order does not directly or even intentionally speak to the cry of the question. Still, as present, such a unity, system, or context can console the one who cries. Yes, as James indicates, the interrogative announces despair, but the context announces a perpetual something within which vacancy is reinterpreted as a piece of 5
6 a whole. The interrogative is no longer open-ended nor is it isolated without relation. Rather it is one of many parts woven into a network of pieces constitutive of a unity. Before moving on to the cello part, we might, without offering a developed analysis, ask about the theological implications of either of these two possible accounts of the relation between music and the interrogative or 'cry. Most obviously, we might ask whether there is a revelatory or redemptive character to the chord repetition in Zehavi's piece. One way to address these questions might be to take up the above-stated hypothesis regarding the non-relation/ relation and apply it to each. As a something that stands next to, beside, above, below, or around another something with which there is no identity - only common space or common time - the chord repetition announced in Zehavi's Psalm 42 appears revelatory to the one who cries so far as it is precisely the anticipation of the more and/or the unity or order signified by the chord repetition which the psalmist's cry does not contain and does not know. It is, in this way, an other to the psalmist and adds a something 'new.' Whether or not this 'something new' is redemptive, however, is another issue. As a non-relation, the something new is not purposefully directed towards the vacancy of the question, but it nonetheless 'speaks' to it without communicating with it. B. The Cello If the chord repetition in Zehavi's piece presents an organic indifference of finite repetition and/or an order within which repetition takes place, the cello part expresses an even stranger announcement - the sound of what Seidel refers to as the inhuman and which, from my perspective, stands in a non-relational relation to the cry of the psalmist. Again, let me begin with a description of the cello part and then analyze what it might mean to say that it relates nonrelationally to the interrogative. 1.)We might first consider the cello's own relation to the piano. The cello announces itself at the start. Later, piano chords emerge. At times, there is simultaneity between the two, but there is almost never a fusing, a harmony, a blurring or a merging of the two. (There are odd occasions on which the piano attempts to follow the announcement of the cello, but they disappear.) The cello is either separate from the piano or an imposition or overlay on top of the piano. It exercises a dramatic and knowing indifference to the piano chords below it. Again, the cello offers a telling and does not wait for a reply. It operates horizontally and almost never vertically in relation to the chords. 2.) The cello s part does not, like the piano, perform a repetition. It does not, we might say, pulsate. Its elongated notes express a certain and undying sound. They are devoid of rhythm, existing and then dying without anticipation of a next. There is no timing that links them to what was prior and what comes after. The sound moves, but like a perpetual wave deep in the water. Without pulsation, it is neither life nor non-life. It simply is. In its announcement, it can afford to 6
7 be and then not to be, but it comes and goes in its depth as it sees fit without the desperation for a repetition or a rule needed to sustain it. 3.) It is sound that is not discourse. It is sound that is not grammar. It is sound that we do not wait for and which does not wait for us. It is there, and we are listening to it, but it is a sound which speaks only to a soul and not to a thinking mind which organically anticipates and remembers. In this sound, we are taken. It precedes us and goes on without us. As before, we might speculate on two models of non-relational relationality emerging in the role of the cello. In all three of the above descriptions, the cello, unlike the repetition of the piano chords, refers not to what is organic - not to what is vital. If anything, it refers to what Seidel calls the inhuman. As such, we might speculate on two different types of non-relational relation between this inhuman and the all too human interrogative. We might, taking our cue from Seidel's own thought, consider the inhuman as elements in nature - rocks, canyons, streams - elements which, as inhuman, do not relate to our cries. But nonetheless, like separate monads, each individually stand next to, nearby, above, under and around us in our waiting. On the one hand, they are indifferent to us. On the other hand, as Seidel suggests they are there, and this presence seems to non-purposefully, unintentionally, beckon us into "their company, invite us to 'be with them, to relate to them non-relationally but to co-fill a space or constitute a place in an order. What might such a co-belonging of element (human) and element (non-human) be like? And again, I wonder: might it be revelatory? Might it be redemptive? But what if the inhuman were not a monad, not another element? What if the inhuman were a metaphysical indifference or a metaphysical no-living/no-dying - a context, as before, but a context that is more than any order it might contain? What if it is a context that precedes any order within it and perdures beyond any order that may or may not continue - a metaphysical, meta-grammatical and meta-elemental something that cannot live or die but greets us always as indifferent, as simultaneously there but always other? "Where," we might ask as Seidel does, "is God, in the music and in the psalm?" If, as I'd like to suggest, God is in the music, I'd also like to suggest that we find a God with whom we are radically unfamiliar - if by unfamiliar we mean unschooled. Still, existentially, such a God is entirely familiar. All too frequently (all the time), we find this God in the indifference of organic repetition and overarching order, in the darkness of what precedes our world and in the silence of what accompanies it and outlasts it. Absolutely revelatory, Zehavi's music presents us with a divine non-redemption, a divine non-relational relation, an overlay, a telling, an eternality, without any prospect of not being. It presents us with a non-answer to the psalmist s desperate cry for a living God from a God who does not live, who is there but is not present, who does not engage, who will not communicate, who will not wait, and who, perhaps, should not be waited for: the God that precedes and follows all that waits. The Journal of Scriptural Reasoning. Volume 12, Number 1 (November 2013). 7
Monadology and Music 2: Leibniz s Demon
Monadology and Music 2: Leibniz s Demon Soshichi Uchii (Kyoto University, Emeritus) Abstract Drawing on my previous paper Monadology and Music (Uchii 2015), I will further pursue the analogy between Monadology
More informationPhilosophical roots of discourse theory
Philosophical roots of discourse theory By Ernesto Laclau 1. Discourse theory, as conceived in the political analysis of the approach linked to the notion of hegemony whose initial formulation is to be
More informationThe Human Intellect: Aristotle s Conception of Νοῦς in his De Anima. Caleb Cohoe
The Human Intellect: Aristotle s Conception of Νοῦς in his De Anima Caleb Cohoe Caleb Cohoe 2 I. Introduction What is it to truly understand something? What do the activities of understanding that we engage
More informationA Condensed View esthetic Attributes in rts for Change Aesthetics Perspectives Companions
A Condensed View esthetic Attributes in rts for Change The full Aesthetics Perspectives framework includes an Introduction that explores rationale and context and the terms aesthetics and Arts for Change;
More informationfoucault s archaeology science and transformation David Webb
foucault s archaeology science and transformation David Webb CLOSING REMARKS The Archaeology of Knowledge begins with a review of methodologies adopted by contemporary historical writing, but it quickly
More informationStudent Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
More informationBrandom s Reconstructive Rationality. Some Pragmatist Themes
Brandom s Reconstructive Rationality. Some Pragmatist Themes Testa, Italo email: italo.testa@unipr.it webpage: http://venus.unive.it/cortella/crtheory/bios/bio_it.html University of Parma, Dipartimento
More informationHans-Georg Gadamer, Truth and Method, 2d ed. transl. by Joel Weinsheimer and Donald G. Marshall (London : Sheed & Ward, 1989), pp [1960].
Hans-Georg Gadamer, Truth and Method, 2d ed. transl. by Joel Weinsheimer and Donald G. Marshall (London : Sheed & Ward, 1989), pp. 266-307 [1960]. 266 : [W]e can inquire into the consequences for the hermeneutics
More informationLearning and Teaching English through the Bible: A Pictorial Approach BIBLE STUDY WORKBOOK PROSE
PROSE Definition of Prose: Ordinary form of spoken or written language that does not make use of any of the special forms of structure, rhythm, or meter that characterize poetry. 1 To understand what the
More informationThe Environment and Organizational Effort in an Ensemble
Rehearsal Philosophy and Techniques for Aspiring Chamber Music Groups Effective Chamber Music rehearsal is a uniquely democratic group effort requiring a delicate balance of shared values. In a high functioning
More informationNature's Perspectives
Nature's Perspectives Prospects for Ordinal Metaphysics Edited by Armen Marsoobian Kathleen Wallace Robert S. Corrington STATE UNIVERSITY OF NEW YORK PRESS Irl N z \'4 I F r- : an414 FA;ZW Introduction
More informationHow Semantics is Embodied through Visual Representation: Image Schemas in the Art of Chinese Calligraphy *
2012. Proceedings of the Annual Meeting of the Berkeley Linguistics Society 38. DOI: http://dx.doi.org/10.3765/bls.v38i0.3338 Published for BLS by the Linguistic Society of America How Semantics is Embodied
More informationANALOGY, SCHEMATISM AND THE EXISTENCE OF GOD
1 ANALOGY, SCHEMATISM AND THE EXISTENCE OF GOD Luboš Rojka Introduction Analogy was crucial to Aquinas s philosophical theology, in that it helped the inability of human reason to understand God. Human
More informationStudy Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
More information1. alliteration (M) the repetition of a consonant sound at the beginning of nearby words
Sound Devices 1. alliteration (M) the repetition of a consonant sound at the beginning of nearby words 2. assonance (I) the repetition of vowel sounds in nearby words 3. consonance (I) the repetition of
More informationElements of the minimalist composition technique in Arvo Pärt s works based on psalmic texts
Bulletin of the Transilvania University of Braşov - Supplement Series VIII: Performing Arts Vol. 9 (58) No. 2-2016 Elements of the minimalist composition technique in Arvo Pärt s works based on psalmic
More informationIn all creative work melody writing, harmonising a bass part, adding a melody to a given bass part the simplest answers tend to be the best answers.
THEORY OF MUSIC REPORT ON THE MAY 2009 EXAMINATIONS General The early grades are very much concerned with learning and using the language of music and becoming familiar with basic theory. But, there are
More informationSteven E. Kaufman * Key Words: existential mechanics, reality, experience, relation of existence, structure of reality. Overview
November 2011 Vol. 2 Issue 9 pp. 1299-1314 Article Introduction to Existential Mechanics: How the Relations of to Itself Create the Structure of Steven E. Kaufman * ABSTRACT This article presents a general
More informationThe purpose of this essay is to impart a basic vocabulary that you and your fellow
Music Fundamentals By Benjamin DuPriest The purpose of this essay is to impart a basic vocabulary that you and your fellow students can draw on when discussing the sonic qualities of music. Excursions
More information12th Grade Language Arts Pacing Guide SLEs in red are the 2007 ELA Framework Revisions.
1. Enduring Developing as a learner requires listening and responding appropriately. 2. Enduring Self monitoring for successful reading requires the use of various strategies. 12th Grade Language Arts
More informationPhilosophy in the educational process: Understanding what cannot be taught
META: RESEARCH IN HERMENEUTICS, PHENOMENOLOGY, AND PRACTICAL PHILOSOPHY VOL. IV, NO. 2 / DECEMBER 2012: 417-421, ISSN 2067-3655, www.metajournal.org Philosophy in the educational process: Understanding
More informationMaster's Theses and Graduate Research
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2010 String Quartet No. 1 Jeffrey Scott Perry San Jose State University Follow this and additional
More informationTruth and Method in Unification Thought: A Preparatory Analysis
Truth and Method in Unification Thought: A Preparatory Analysis Keisuke Noda Ph.D. Associate Professor of Philosophy Unification Theological Seminary New York, USA Abstract This essay gives a preparatory
More informationHeideggerian Ontology: A Philosophic Base for Arts and Humanties Education
Marilyn Zurmuehlen Working Papers in Art Education ISSN: 2326-7070 (Print) ISSN: 2326-7062 (Online) Volume 2 Issue 1 (1983) pps. 56-60 Heideggerian Ontology: A Philosophic Base for Arts and Humanties Education
More informationArkansas Learning Standards (Grade 12)
Arkansas Learning s (Grade 12) This chart correlates the Arkansas Learning s to the chapters of The Essential Guide to Language, Writing, and Literature, Blue Level. IR.12.12.10 Interpreting and presenting
More informationCurriculum Catalog
2017-2018 Curriculum Catalog 2017 Glynlyon, Inc. Table of Contents MUSIC THEORY COURSE OVERVIEW... 1 UNIT 1: RHYTHM AND METER... 1 UNIT 2: NOTATION AND PITCH... 2 UNIT 3: SCALES AND KEY SIGNATURES... 2
More informationAbsurdity and Angst in Endgame. absurdist playwright by William I. Oliver in his essay, Between Absurdity and the
Ollila 1 Bernie Ollila May 8, 2008 Absurdity and Angst in Endgame Samuel Beckett has been identified not only as an existentialist, but also as an absurdist playwright by William I. Oliver in his essay,
More informationThe Application of Stylistics in British and American Literature Teaching. XU Li-mei, QU Lin-lin. Changchun University, Changchun, China
Sino-US English Teaching, November 2015, Vol. 12, No. 11, 869-873 doi:10.17265/1539-8072/2015.11.010 D DAVID PUBLISHING The Application of Stylistics in British and American Literature Teaching XU Li-mei,
More informationAP Literature and Composition
Course Title: AP Literature and Composition Goals and Objectives Essential Questions Assignment Description SWBAT: Evaluate literature through close reading with the purpose of formulating insights with
More informationNMSI English Mock Exam Lesson Poetry Analysis 2013
NMSI English Mock Exam Lesson Poetry Analysis 2013 Student Activity Published by: National Math and Science, Inc. 8350 North Central Expressway, Suite M-2200 Dallas, TX 75206 www.nms.org 2014 National
More informationQuantitative Emotion in the Avett Brother s I and Love and You. has been around since the prehistoric eras of our world. Since its creation, it has
Quantitative Emotion in the Avett Brother s I and Love and You Music is one of the most fundamental forms of entertainment. It is an art form that has been around since the prehistoric eras of our world.
More informationLiterature in the Globalized World
Literature in the Globalized World Michal Ajvaz One of the areas in which the arising globalized world is breaking old boundaries is the area of the literature from other nations. At present, it is not
More informationArkansas Learning Standards (Grade 10)
Arkansas Learning s (Grade 10) This chart correlates the Arkansas Learning s to the chapters of The Essential Guide to Language, Writing, and Literature, Blue Level. IR.12.10.10 Interpreting and presenting
More informationCampus Academic Resource Program How to Read and Annotate Poetry
This handout will: Campus Academic Resource Program Provide brief strategies on reading poetry Discuss techniques for annotating poetry Present questions to help you analyze a poem s: o Title o Speaker
More informationIn today s world, we are always surrounded by imagery. Yet, we never think about what these
1 Research Paper Ben Sloat March, 2017 Comparative Analysis Sally Mann /Roland Barthes In today s world, we are always surrounded by imagery. Yet, we never think about what these visual images mean to
More informationSYSTEM-PURPOSE METHOD: THEORETICAL AND PRACTICAL ASPECTS Ramil Dursunov PhD in Law University of Fribourg, Faculty of Law ABSTRACT INTRODUCTION
SYSTEM-PURPOSE METHOD: THEORETICAL AND PRACTICAL ASPECTS Ramil Dursunov PhD in Law University of Fribourg, Faculty of Law ABSTRACT This article observes methodological aspects of conflict-contractual theory
More informationCurrent Issues in Pictorial Semiotics
Current Issues in Pictorial Semiotics Course Description What is the systematic nature and the historical origin of pictorial semiotics? How do pictures differ from and resemble verbal signs? What reasons
More informationSchopenhauer's Metaphysics of Music
By Harlow Gale The Wagner Library Edition 1.0 Harlow Gale 2 The Wagner Library Contents About this Title... 4 Schopenhauer's Metaphysics of Music... 5 Notes... 9 Articles related to Richard Wagner 3 Harlow
More informationComputational Parsing of Melody (CPM): Interface Enhancing the Creative Process during the Production of Music
Computational Parsing of Melody (CPM): Interface Enhancing the Creative Process during the Production of Music Andrew Blake and Cathy Grundy University of Westminster Cavendish School of Computer Science
More informationAugmentation Matrix: A Music System Derived from the Proportions of the Harmonic Series
-1- Augmentation Matrix: A Music System Derived from the Proportions of the Harmonic Series JERICA OBLAK, Ph. D. Composer/Music Theorist 1382 1 st Ave. New York, NY 10021 USA Abstract: - The proportional
More information38. Schubert Der Doppelgänger (for Unit 3: Developing Musical Understanding)
1 38. Schubert Der Doppelgänger (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Franz Schubert was born in 1797 in Vienna. He died in 1828
More informationON GESTURAL MEANING IN ACTS OF EXPRESSION
ON GESTURAL MEANING IN ACTS OF EXPRESSION Sunnie D. Kidd In this presentation the focus is on what Maurice Merleau-Ponty calls the gestural meaning of the word in language and speech as it is an expression
More informationThe Art of Improvising: The Be-Bop Language
Art and Design Review, 2017, 5, 181-188 http://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 The Art of Improvising: The Be-Bop Language and the Dominant Seventh Chords Carmine
More informationThe Cyclical Nature of People in Ithica
The Cyclical Nature of People in Ithica JUSTIN MOIR Up to the point of its penultimate chapter, Ulysses builds itself on individuality, much of which is established though stream of consciousness. Yet,
More informationElements of Music. How can we tell music from other sounds?
Elements of Music How can we tell music from other sounds? Sound begins with the vibration of an object. The vibrations are transmitted to our ears by a medium usually air. As a result of the vibrations,
More informationExample 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):
Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered
More informationRhythm and Melody Aspects of Language and Music
Rhythm and Melody Aspects of Language and Music Dafydd Gibbon Guangzhou, 25 October 2016 Orientation Orientation - 1 Language: focus on speech, conversational spoken language focus on complex behavioural
More informationNecessity in Kant; Subjective and Objective
Necessity in Kant; Subjective and Objective DAVID T. LARSON University of Kansas Kant suggests that his contribution to philosophy is analogous to the contribution of Copernicus to astronomy each involves
More informationApproaching the Study of Literature - an introduction to Narratology
English 12AP Guraliuk Approaching the Study of Literature - an introduction to Narratology Your knowledge about how to approach literary texts should include not only the more traditional areas of literary
More informationChapter 2 Christopher Alexander s Nature of Order
Chapter 2 Christopher Alexander s Nature of Order Christopher Alexander is an oft-referenced icon for the concept of patterns in programming languages and design [1 3]. Alexander himself set forth his
More informationDivisions on a Ground
Divisions on a Ground Introductory Exercises in Improvisation for Two Players John Mortensen, DMA Based on The Division Viol by Christopher Simpson (1664) Introduction. The division viol was a peculiar
More informationWorkshop 3 National 5 English. Portfolio. Commentaries on Candidate Evidence
Workshop 3 National 5 English Portfolio Commentaries on Candidate Evidence Commentary on Candidate 1 My first day in secondary school Mark: 7 The candidate begins the piece of writing by presenting an
More informationLANGUAGE THROUGH THE LENS OF HERACLITUS'S LOGOS
LANGUAGE THROUGH THE LENS OF HERACLITUS'S LOGOS NATASHA WILTZ ABSTRACT This paper deals with Heraclitus s understanding of Logos and how his work can help us understand various components of language:
More informationalphabet book of confidence
Inner rainbow Project s alphabet book of confidence dictionary 2017 Sara Carly Mentlik by: sara Inner Rainbow carly Project mentlik innerrainbowproject.com Introduction All of the words in this dictionary
More information2. REVIEW OF RELATED LITERATURE. word some special aspect of our human experience. It is usually set down
2. REVIEW OF RELATED LITERATURE 2.1 Definition of Literature Moody (1968:2) says literature springs from our inborn love of telling story, of arranging words in pleasing patterns, of expressing in word
More informationRousseau on the Nature of Nature and Political Philosophy
Rousseau on the Nature of Nature and Political Philosophy Our theme is the relation between modern reductionist science and political philosophy. The question is whether political philosophy can meet the
More informationIn the Habit session for use with devozine meditations for August 25 31, 2014.
My Playlist Darren Wright In the Habit session for use with devozine meditations for August 25 31, 2014. MAKING THE CONNECTION Music isn t some shrink-wrapped product you buy at the store. Music is a human
More informationCRITICAL THEORY BEYOND NEGATIVITY
CRITICAL THEORY BEYOND NEGATIVITY The Ethics, Politics and Aesthetics of Affirmation : a Course by Rosi Braidotti Aggeliki Sifaki Were a possible future attendant to ask me if the one-week intensive course,
More informationA Recipe for Emotion in Music (Music & Meaning Part II)
A Recipe for Emotion in Music (Music & Meaning Part II) Curriculum Guide This curriculum guide is designed to help you use the MPR Class Notes video A Recipe for Emotion in Music as a teaching tool in
More informationAP Music Theory Curriculum
AP Music Theory Curriculum Course Overview: The AP Theory Class is a continuation of the Fundamentals of Music Theory course and will be offered on a bi-yearly basis. Student s interested in enrolling
More informationA Euclidic Paradigm of Freemasonry
A Euclidic Paradigm of Freemasonry Every Mason has an intuition that Freemasonry is a unique vessel, carrying within it something special. Many have cultivated a profound interpretation of the Masonic
More informationDoctoral Thesis in Ancient Philosophy. The Problem of Categories: Plotinus as Synthesis of Plato and Aristotle
Anca-Gabriela Ghimpu Phd. Candidate UBB, Cluj-Napoca Doctoral Thesis in Ancient Philosophy The Problem of Categories: Plotinus as Synthesis of Plato and Aristotle Paper contents Introduction: motivation
More informationUnified Reality Theory in a Nutshell
Unified Reality Theory in a Nutshell 200 Article Steven E. Kaufman * ABSTRACT Unified Reality Theory describes how all reality evolves from an absolute existence. It also demonstrates that this absolute
More informationThe Strengths and Weaknesses of Frege's Critique of Locke By Tony Walton
The Strengths and Weaknesses of Frege's Critique of Locke By Tony Walton This essay will explore a number of issues raised by the approaches to the philosophy of language offered by Locke and Frege. This
More informationThe phenomenological tradition conceptualizes
15-Craig-45179.qxd 3/9/2007 3:39 PM Page 217 UNIT V INTRODUCTION THE PHENOMENOLOGICAL TRADITION The phenomenological tradition conceptualizes communication as dialogue or the experience of otherness. Although
More informationNatika Newton, Foundations of Understanding. (John Benjamins, 1996). 210 pages, $34.95.
441 Natika Newton, Foundations of Understanding. (John Benjamins, 1996). 210 pages, $34.95. Natika Newton in Foundations of Understanding has given us a powerful, insightful and intriguing account of the
More informationA collection of classroom composing activities, based on ideas taken from the Friday Afternoons Song Collection David Ashworth
Friday Afternoons a Composer s guide A collection of classroom composing activities, based on ideas taken from the Friday Afternoons Song Collection David Ashworth Introduction In the latest round of Friday
More informationAN INSIGHT INTO CONTEMPORARY THEORY OF METAPHOR
Jeļena Tretjakova RTU Daugavpils filiāle, Latvija AN INSIGHT INTO CONTEMPORARY THEORY OF METAPHOR Abstract The perception of metaphor has changed significantly since the end of the 20 th century. Metaphor
More informationDAT335 Music Perception and Cognition Cogswell Polytechnical College Spring Week 6 Class Notes
DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring 2009 Week 6 Class Notes Pitch Perception Introduction Pitch may be described as that attribute of auditory sensation in terms
More informationManuel Bremer University Lecturer, Philosophy Department, University of Düsseldorf, Germany
Internal Realism Manuel Bremer University Lecturer, Philosophy Department, University of Düsseldorf, Germany Abstract. This essay characterizes a version of internal realism. In I will argue that for semantical
More informationCurriculum Map: Academic English 10 Meadville Area Senior High School
Curriculum Map: Academic English 10 Meadville Area Senior High School Course Description: This year long course is specifically designed for the student who plans to pursue a four year college education.
More informationEmerging Questions: Fernando F. Segovia and the Challenges of Cultural Interpretation
Emerging Questions: Fernando F. Segovia and the Challenges of Cultural Interpretation It is an honor to be part of this panel; to look back as we look forward to the future of cultural interpretation.
More informationRoland Barthes s The Death of the Author essay provides a critique of the way writers
Roland Barthes s The Death of the Author essay provides a critique of the way writers and readers view a written or spoken piece. Throughout the piece Barthes makes the argument for writers to give up
More informationCHAPTER 2 THEORETICAL FRAMEWORK
CHAPTER 2 THEORETICAL FRAMEWORK 2.1 Poetry Poetry is an adapted word from Greek which its literal meaning is making. The art made up of poems, texts with charged, compressed language (Drury, 2006, p. 216).
More informationTruth and Tropes. by Keith Lehrer and Joseph Tolliver
Truth and Tropes by Keith Lehrer and Joseph Tolliver Trope theory has been focused on the metaphysics of a theory of tropes that eliminates the need for appeal to universals or properties. This has naturally
More informationVerity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002
Commentary Verity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002 Laura M. Castelli laura.castelli@exeter.ox.ac.uk Verity Harte s book 1 proposes a reading of a series of interesting passages
More informationBPS Interim Assessments SY Grade 2 ELA
BPS Interim SY 17-18 BPS Interim SY 17-18 Grade 2 ELA Machine-scored items will include selected response, multiple select, technology-enhanced items (TEI) and evidence-based selected response (EBSR).
More informationComposing and Interpreting Music
Composing and Interpreting Music MARTIN GASKELL (Draft 3.7 - January 15, 2010 Musical examples not included) Martin Gaskell 2009 1 Martin Gaskell Composing and Interpreting Music Preface The simplest way
More informationThe Influence of Chinese and Western Culture on English-Chinese Translation
International Journal of Liberal Arts and Social Science Vol. 7 No. 3 April 2019 The Influence of Chinese and Western Culture on English-Chinese Translation Yingying Zhou China West Normal University,
More informationChapter Five: The Elements of Music
Chapter Five: The Elements of Music What Students Should Know and Be Able to Do in the Arts Education Reform, Standards, and the Arts Summary Statement to the National Standards - http://www.menc.org/publication/books/summary.html
More informationobservation and conceptual interpretation
1 observation and conceptual interpretation Most people will agree that observation and conceptual interpretation constitute two major ways through which human beings engage the world. Questions about
More informationMetaphors in the Discourse of Jazz. Kenneth W. Cook Russell T. Alfonso
Metaphors in the Discourse of Jazz Kenneth W. Cook kencook@hawaii.edu Russell T. Alfonso ralfonso@hpu.edu Introduction: Our aim in this paper is to provide a brief, but, we hope, informative and insightful
More informationENGLISH LANGUAGE ARTS
ENGLISH LANGUAGE ARTS Content Domain l. Vocabulary, Reading Comprehension, and Reading Various Text Forms Range of Competencies 0001 0004 23% ll. Analyzing and Interpreting Literature 0005 0008 23% lli.
More informationDARWIN, GOD, AND THE POETS
1 TESP 72 DARWIN, GOD, AND THE POETS Course Outline: Winter 2016 Instructor: Prof. J. David Pleins CORE: Religion, Theology, and Culture 2 PATHWAYS: Values in Science & Technology Paradigm Shifts General
More informationRemember is composed in the form known as the Italian or Petrarchan sonnet, rhymed abba abba cdd ece, traditionally associated with love poetry.
Remember is composed in the form known as the Italian or Petrarchan sonnet, rhymed abba abba cdd ece, traditionally associated with love poetry. As with all Petrarchan sonnets there is a volta (or turn
More informationCHAPTER I INTRODUCTION
CHAPTER I INTRODUCTION A. Background of the Study The meaning of word, phrase and sentence is very important to be analyzed because it can make something more understandable to be communicated to the others.
More information21M.013J The Supernatural in Music, Literature and Culture
MIT OpenCourseWare http://ocw.mit.edu 21M.013J The Supernatural in Music, Literature and Culture Spring 2009 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms.
More informationSummary. Key words: identity, temporality, epiphany, subjectivity, sensorial, narrative discourse, sublime, compensatory world, mythos
Contents Introduction 5 1. The modern epiphany between the Christian conversion narratives and "moments of intensity" in Romanticism 9 1.1. Metanoia. The conversion and the Christian narratives 13 1.2.
More informationSubject specific vocabulary
Subject specific vocabulary The following subject specific vocabulary provides definitions of key terms used in AQA's A-level Dance specification. Students should be familiar with and gain understanding
More informationAS Poetry Anthology The Victorians
Study Sheet Dover Beach Mathew Arnold 1. Stanza 1 is straightforward description of a SCENE. It also establishes a mood. o Briefly, what s the scene? o What is the mood? Refer to two things which create
More informationExaminers Report/ Principal Examiner Feedback. June International GCSE English Literature (4ET0) Paper 02
Examiners Report/ Principal Examiner Feedback June 2011 International GCSE English Literature (4ET0) Paper 02 Edexcel is one of the leading examining and awarding bodies in the UK and throughout the world.
More informationMass Communication Theory
Mass Communication Theory 2015 spring sem Prof. Jaewon Joo 7 traditions of the communication theory Key Seven Traditions in the Field of Communication Theory 1. THE SOCIO-PSYCHOLOGICAL TRADITION: Communication
More informationThe Kantian and Hegelian Sublime
43 Yena Lee Yena Lee E tymologically related to the broaching of limits, the sublime constitutes a phenomenon of surpassing grandeur or awe. Kant and Hegel both investigate the sublime as a key element
More informationImmanuel Kant Critique of Pure Reason
Immanuel Kant Critique of Pure Reason THE A PRIORI GROUNDS OF THE POSSIBILITY OF EXPERIENCE THAT a concept, although itself neither contained in the concept of possible experience nor consisting of elements
More informationIIL-HEGEL'S TREATMENT OF THE CATE- GORIES OF OUALITY.
IIL-HEGEL'S TREATMENT OF THE CATE- GORIES OF OUALITY. BY J. ELLIS MOTAGOABT. IN this paper, as in my previous papers on the Categories of the Subjective Notion (MIND, April and July, 1897), the Objective
More informationVISUAL INTERPRETATION OF ARCHITECTURAL FORM
VISUAL INTERPRETATION OF ARCHITECTURAL FORM K. Gunce, Z. Erturk, S. Erturk Department of Architecture, Eastern Mediterranean University, Famagusta E-mail: kagan.gunce@emu.edu.tr ABSTRACT: In architectural
More informationWith prompting and support, ask and answer questions about key details in a text. Grade 1 Ask and answer questions about key details in a text.
Literature: Key Ideas and Details College and Career Readiness (CCR) Anchor Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual
More informationAristotle on the Human Good
24.200: Aristotle Prof. Sally Haslanger November 15, 2004 Aristotle on the Human Good Aristotle believes that in order to live a well-ordered life, that life must be organized around an ultimate or supreme
More informationFelt Evaluations: A Theory of Pleasure and Pain. Bennett Helm (2002) Slides by Jeremiah Tillman
Felt Evaluations: A Theory of Pleasure and Pain Bennett Helm (2002) Slides by Jeremiah Tillman Introduction Helm s big picture: Pleasure and pain aren t isolated phenomenal bodily states, but are conceptually
More informationMusic Model Cornerstone Assessment. Artistic Process: Creating-Improvisation Ensembles
Music Model Cornerstone Assessment Artistic Process: Creating-Improvisation Ensembles Intent of the Model Cornerstone Assessment Model Cornerstone Assessments (MCAs) in music are tasks that provide formative
More information