Pub Date : 2021-02-03DOI: 10.5325/soundings.104.1.0001
Andrew J. Ball
Abstract:Moses and Aron is indicative of the shift in Schoenberg’s thinking that occurred in the early 1920s. His conflicting aesthetic and religious convictions are embodied in Moses, who reflects Schoenberg’s religious piety, and Aron who represents his devotion to expressionist, Schopenhauerian aesthetics. By revisiting the figures and relationship of Moses and Aron, Schoenberg’s opera examines the possibility of an anti-idolatrous modern work of religious Judaic art. By problematizing the contradiction of creating anti-idolatrous, worshipful Jewish art, Schoenberg foregrounds an aesthetic-theological quandary. How can a Jewish artist represent, not the ineffable— the divine—but ineffability while still adhering to the law of anti-idolatry?
{"title":"Voicing Ineffability: Theological Modernism and the Expression(ism) of Faith in Schoenberg’s Moses und Aron","authors":"Andrew J. Ball","doi":"10.5325/soundings.104.1.0001","DOIUrl":"https://doi.org/10.5325/soundings.104.1.0001","url":null,"abstract":"Abstract:Moses and Aron is indicative of the shift in Schoenberg’s thinking that occurred in the early 1920s. His conflicting aesthetic and religious convictions are embodied in Moses, who reflects Schoenberg’s religious piety, and Aron who represents his devotion to expressionist, Schopenhauerian aesthetics. By revisiting the figures and relationship of Moses and Aron, Schoenberg’s opera examines the possibility of an anti-idolatrous modern work of religious Judaic art. By problematizing the contradiction of creating anti-idolatrous, worshipful Jewish art, Schoenberg foregrounds an aesthetic-theological quandary. How can a Jewish artist represent, not the ineffable— the divine—but ineffability while still adhering to the law of anti-idolatry?","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"63 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128454243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-03DOI: 10.5325/soundings.104.1.0053
Michael Wainwright
Abstract:Employing Bowlby’s attachment theory, this article traces the prescience of Faulkner’s Pylon. In March 1935, Faulkner’s novel—a tale of a barnstorming pilot, his wife, and their parentally deprived son—appears in print. That same year, Bowlby reads Ian Suttie’s The Origins of Love and Hate, whose approach to psychological maturation offers a Darwinian alternative to Freud’s doctrine of drives. Bowlby develops this alternative perspective into attachment theory. Like Bowlby, Faulkner at once distances himself from Freudianism and appreciates Darwinism, with Bowlbian concepts aiding the exploration of Faulkner’s psychosocial insights in Pylon and the novel reciprocating in illuminating those concepts.
{"title":"Strains of Attachment: John Bowlby’s Theory and William Faulkner’s Pylon","authors":"Michael Wainwright","doi":"10.5325/soundings.104.1.0053","DOIUrl":"https://doi.org/10.5325/soundings.104.1.0053","url":null,"abstract":"Abstract:Employing Bowlby’s attachment theory, this article traces the prescience of Faulkner’s Pylon. In March 1935, Faulkner’s novel—a tale of a barnstorming pilot, his wife, and their parentally deprived son—appears in print. That same year, Bowlby reads Ian Suttie’s The Origins of Love and Hate, whose approach to psychological maturation offers a Darwinian alternative to Freud’s doctrine of drives. Bowlby develops this alternative perspective into attachment theory. Like Bowlby, Faulkner at once distances himself from Freudianism and appreciates Darwinism, with Bowlbian concepts aiding the exploration of Faulkner’s psychosocial insights in Pylon and the novel reciprocating in illuminating those concepts.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133531477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-03DOI: 10.5325/SOUNDINGS.104.1.0089
David Stromberg
Abstract:This article focuses on two concepts, irony and idiocy, as they appear in the works of Plato and Dostoevsky. In Plato’s case, the article describes how irony is thematized in a rhetorical mode and also deployed as a dialectical method, creating dramatic tension that produces additional layers of significance. In Dostoevsky’s case, it addresses his thematization of irony and its deployment as a dialectical method to develop idiocy as a framing concept for the novel. Setting aside general philosophical issues relating to Plato’s use of literary representation, as well as broader thematic implications of idiocy in Dostoevsky, the article focuses on a thread passing from Plato to Dostoevsky, through the concepts of irony to idiocy, and suggests that just as Plato’s dialogues have a representational layer in which their text points to a layer of dramatic significance, so Dostoevsky’s novel has a conceptual layer pointing to philosophical significance. This philosophical significance, embedded in dialectical irony as a literary method, does not necessarily encapsulate any specific idea. Yet it does indicate that, beyond the representation of the novel’s characters as tragic figures, there lies a potential for understanding the book, in its entirety, as a tale of cautionary wisdom.
{"title":"Idiocy and Irony in Plato’s Dialogues and Dostoevsky’s The Idiot","authors":"David Stromberg","doi":"10.5325/SOUNDINGS.104.1.0089","DOIUrl":"https://doi.org/10.5325/SOUNDINGS.104.1.0089","url":null,"abstract":"Abstract:This article focuses on two concepts, irony and idiocy, as they appear in the works of Plato and Dostoevsky. In Plato’s case, the article describes how irony is thematized in a rhetorical mode and also deployed as a dialectical method, creating dramatic tension that produces additional layers of significance. In Dostoevsky’s case, it addresses his thematization of irony and its deployment as a dialectical method to develop idiocy as a framing concept for the novel. Setting aside general philosophical issues relating to Plato’s use of literary representation, as well as broader thematic implications of idiocy in Dostoevsky, the article focuses on a thread passing from Plato to Dostoevsky, through the concepts of irony to idiocy, and suggests that just as Plato’s dialogues have a representational layer in which their text points to a layer of dramatic significance, so Dostoevsky’s novel has a conceptual layer pointing to philosophical significance. This philosophical significance, embedded in dialectical irony as a literary method, does not necessarily encapsulate any specific idea. Yet it does indicate that, beyond the representation of the novel’s characters as tragic figures, there lies a potential for understanding the book, in its entirety, as a tale of cautionary wisdom.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"12 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114012210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-01DOI: 10.5325/soundings.104.1.00iv
{"title":"Editor's Introduction: The Arts and Humanities in a Democracy","authors":"","doi":"10.5325/soundings.104.1.00iv","DOIUrl":"https://doi.org/10.5325/soundings.104.1.00iv","url":null,"abstract":"","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121414482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-21DOI: 10.5325/soundings.103.4.0449
H. Frankel
Abstract:This article discusses R. B. Kitaj's painting If Not, Not (1976) with reference to issues of aesthetic representation of the Holocaust, in which Kitaj creates a cultural site for bearing witness for the Jewish victims. Striving to depict the unimaginable, Kitaj's method endorses meaning. Juxtaposing ambiguous, discordant images, he evokes a broken modern world and serves traumatic memory.
摘要:本文从基塔伊(R. B. Kitaj)的绘画《如果不是，不是》(If Not, Not, 1976)的审美再现问题出发，探讨基塔伊为犹太受害者创造的文化场所。努力描绘难以想象的事物，基塔伊的方法支持意义。他将模糊、不和谐的图像并列，唤起了一个破碎的现代世界，并服务于创伤记忆。
{"title":"Shards of the Shoah in R. B. Kitaj's Painting If Not, Not (1976)","authors":"H. Frankel","doi":"10.5325/soundings.103.4.0449","DOIUrl":"https://doi.org/10.5325/soundings.103.4.0449","url":null,"abstract":"Abstract:This article discusses R. B. Kitaj's painting If Not, Not (1976) with reference to issues of aesthetic representation of the Holocaust, in which Kitaj creates a cultural site for bearing witness for the Jewish victims. Striving to depict the unimaginable, Kitaj's method endorses meaning. Juxtaposing ambiguous, discordant images, he evokes a broken modern world and serves traumatic memory.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133538693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-21DOI: 10.5325/soundings.103.4.0419
Peter Admirand
Abstract:Focusing on the Bosnian war (1992–1995), and its lingering consequences, this article turns to witness testimonies to situate and evaluate the place and value of interfaith dialogue in a post-conflict setting. It particularly focuses on the horror of neighbor killing neighbor, a seemingly intractable divide for any hope for future reconciliation and role for dialogue. To pave a way forward, this article assesses the aims and work of interfaith bodies and groups in Bosnia and Herzegovina seeking to establish peace and some form of interfaith and inter-cultural normalization after the Dayton Accords.
{"title":"Building Bridges among Bridge-Destroyers: Post-Conflict Interfaith Dialogue after the Bosnian War","authors":"Peter Admirand","doi":"10.5325/soundings.103.4.0419","DOIUrl":"https://doi.org/10.5325/soundings.103.4.0419","url":null,"abstract":"Abstract:Focusing on the Bosnian war (1992–1995), and its lingering consequences, this article turns to witness testimonies to situate and evaluate the place and value of interfaith dialogue in a post-conflict setting. It particularly focuses on the horror of neighbor killing neighbor, a seemingly intractable divide for any hope for future reconciliation and role for dialogue. To pave a way forward, this article assesses the aims and work of interfaith bodies and groups in Bosnia and Herzegovina seeking to establish peace and some form of interfaith and inter-cultural normalization after the Dayton Accords.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122954870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-21DOI: 10.5325/soundings.103.4.0473
Bharat Ranganathan
Abstract:This article reflects on the ethnographic turn in recent comparative religious ethics (CRE). Comparative religious ethicists should be lauded because they privilege engagement with non-Western intellectual sources. Such engagement is important since it undermines the erroneous view that non-Western sources are either soft or are part of someone else's commitments and therefore irrelevant. Yet some recent comparative work stops at merely describing these non-Western sources, moving ethics away from its normative tasks. If CRE is to remain relevant to broader conversations in moral and political theory, comparative religious ethicists should perform two tasks: they should evaluate the object under consideration and illustrate how thinking about it may contribute to broader thinking about common moral and political problems.
{"title":"The Limits of the Ethnographic Turn","authors":"Bharat Ranganathan","doi":"10.5325/soundings.103.4.0473","DOIUrl":"https://doi.org/10.5325/soundings.103.4.0473","url":null,"abstract":"Abstract:This article reflects on the ethnographic turn in recent comparative religious ethics (CRE). Comparative religious ethicists should be lauded because they privilege engagement with non-Western intellectual sources. Such engagement is important since it undermines the erroneous view that non-Western sources are either soft or are part of someone else's commitments and therefore irrelevant. Yet some recent comparative work stops at merely describing these non-Western sources, moving ethics away from its normative tasks. If CRE is to remain relevant to broader conversations in moral and political theory, comparative religious ethicists should perform two tasks: they should evaluate the object under consideration and illustrate how thinking about it may contribute to broader thinking about common moral and political problems.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132909859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-22DOI: 10.5325/soundings.103.3.0287
Adams
Abstract:This article is concerned with the conflict between a preoccupation with one's individual existential fate and a commitment to one's ethical obligation to the Other in Graham Greene's 1938 novel, Brighton Rock. It contextualizes this conflict in relation to the contemporaneous ethical response of Emmanuel Levinas to Martin Heidegger's ontological philosophy, which Heidegger employed to endorse the fascist politics of National Socialism in the 1930s. The novel's argumentative opposition between Pinkie Brown as an implicitly fascistic and nihilistic existential antihero and Ida Arnold as a self-satisfied secular and ethical exemplar serves as a revealing anatomy of the period's conflicting paradigmatic values systems. The novel also expresses the evolving conflict in Greene's work between a religious concern with one's individual salvation and an ethical commitment to justice for the vulnerable, an ethical commitment that may be traced from the beginning to the end of Greene's long career in fiction.
{"title":"\"It's the World We Got to Deal With\": The Exasperated Ethics of Graham Greene's Brighton Rock","authors":"Adams","doi":"10.5325/soundings.103.3.0287","DOIUrl":"https://doi.org/10.5325/soundings.103.3.0287","url":null,"abstract":"Abstract:This article is concerned with the conflict between a preoccupation with one's individual existential fate and a commitment to one's ethical obligation to the Other in Graham Greene's 1938 novel, Brighton Rock. It contextualizes this conflict in relation to the contemporaneous ethical response of Emmanuel Levinas to Martin Heidegger's ontological philosophy, which Heidegger employed to endorse the fascist politics of National Socialism in the 1930s. The novel's argumentative opposition between Pinkie Brown as an implicitly fascistic and nihilistic existential antihero and Ida Arnold as a self-satisfied secular and ethical exemplar serves as a revealing anatomy of the period's conflicting paradigmatic values systems. The novel also expresses the evolving conflict in Greene's work between a religious concern with one's individual salvation and an ethical commitment to justice for the vulnerable, an ethical commitment that may be traced from the beginning to the end of Greene's long career in fiction.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"55 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123343629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-22DOI: 10.5325/soundings.103.3.0318
B. Elliott
Abstract:This article explores Herman Melville's "The Piazza" through the lens of what social psychologists term the Just-World Hypothesis. Written last and serving as the opening story of The Piazza Tales, "The Piazza" presents readers with an imaginative narrator whose actions toward a young woman he meets in a lonely mountain cabin often seem puzzling; the present essay analyzes his behavior by examining the psychology of Belief in a Just World, a phenomenon that potentially explains why people often reject and blame victims of tragedy and those who suffer. This analysis, in turn, illuminates aspects of similar psychological positions for characters in other stories in The Piazza Tales, most notably the lawyer in "Bartleby, the Scrivener." While Melville's works are often explored through the lenses of philosophy and morality, his ability to capture complex psychology in a realistic manner is powerfully demonstrated in The Piazza Tales, especially in the opening story.
{"title":"\"I could not bear to look\": The Just-World Hypothesis in Melville's \"The Piazza\"","authors":"B. Elliott","doi":"10.5325/soundings.103.3.0318","DOIUrl":"https://doi.org/10.5325/soundings.103.3.0318","url":null,"abstract":"Abstract:This article explores Herman Melville's \"The Piazza\" through the lens of what social psychologists term the Just-World Hypothesis. Written last and serving as the opening story of The Piazza Tales, \"The Piazza\" presents readers with an imaginative narrator whose actions toward a young woman he meets in a lonely mountain cabin often seem puzzling; the present essay analyzes his behavior by examining the psychology of Belief in a Just World, a phenomenon that potentially explains why people often reject and blame victims of tragedy and those who suffer. This analysis, in turn, illuminates aspects of similar psychological positions for characters in other stories in The Piazza Tales, most notably the lawyer in \"Bartleby, the Scrivener.\" While Melville's works are often explored through the lenses of philosophy and morality, his ability to capture complex psychology in a realistic manner is powerfully demonstrated in The Piazza Tales, especially in the opening story.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127329374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-22DOI: 10.5325/soundings.103.3.0346
John McAteer
Abstract:This article analyzes the way the films of Belgian writer-directors Jean-Pierre and Luc Dardenne portray characters taking responsibility for children and children allowing others to take responsibility for them. Though the philosophy of Emmanuel Levinas provides a starting point, this article focuses primarily on a close reading of the Dardennes' films themselves. It argues that these films illuminate the nature of parenthood and suggest a unified definition of parenthood that encompasses both biological parenthood and adoption. In both cases a parent is one who has acquired a unique responsibility toward a child grounded in the vulnerability of the child.
{"title":"Facing the Responsibility of Parenthood in the Films of the Dardenne Brothers","authors":"John McAteer","doi":"10.5325/soundings.103.3.0346","DOIUrl":"https://doi.org/10.5325/soundings.103.3.0346","url":null,"abstract":"Abstract:This article analyzes the way the films of Belgian writer-directors Jean-Pierre and Luc Dardenne portray characters taking responsibility for children and children allowing others to take responsibility for them. Though the philosophy of Emmanuel Levinas provides a starting point, this article focuses primarily on a close reading of the Dardennes' films themselves. It argues that these films illuminate the nature of parenthood and suggest a unified definition of parenthood that encompasses both biological parenthood and adoption. In both cases a parent is one who has acquired a unique responsibility toward a child grounded in the vulnerability of the child.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121506283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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