Pub Date : 2018-11-22DOI: 10.1093/oso/9780190878849.003.0007
Gil Ben-Herut
Chapter 6 deals with interactions with the religious other, namely Jains, outside the courts and most significantly at temples. The chapter highlights the ambiguity in Harihara’s depictions of Jains, who are presented as utterly alien to Śaiva dispositions but also intimately close in terms of daily living. Harihara’s rendering of the wholly other is complicated by the text’s implicit admittance of the intimate presence of the wholly other in the mundane life of most Śaivas—at temples, in marketplaces, and even in the domestic sphere through interreligious marriages. Thus, Chapter 6 reads the aggressive alienation of Jains in the Ragaḷegaḷu stories against the text’s silent admittance in a social reality made of some amount of religious coexistence.
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780190658014.003.0007
M. Idris
This interlude examines the desire to correct or admonish one’s friends, neighbors, or brothers. It foregrounds the politics and ethics of this desire in the writings of Plato, al- Fārābī, Aquinas, and Erasmus, and then examines how al-Jāḥiẓ and Ibn Ḥazm confront the aporetic qualities of this desire in their advice on the treatment of friends. The second half of the interlude discusses how various texts from the genre of advice for rulers, or mirrors for princes, schematize the relationship of war and peace to the enemy. These schematizations include the topos that whoever desires peace should prepare for war. They also include a significant alternative schema that Erasmus raises, but which he does not explore. This alternative is based on separation.
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Pub Date : 2018-11-22DOI: 10.1093/OSO/9780198810810.003.0013
Ekin Öyken, Çiğdem Dürüşken
The Turkish reception of Virgil has a colourful history that started mainly during the decline of the multi-ethnic Ottoman Empire in the late nineteenth century. This may seem typical of Virgil’s initial reception by a culture, usually European, that relates primarily to his perceived idealism. However, closer study of this first period alone, which relies largely on French scholarship, reveals that factors other than cultural politics are at play. Right after the 1897 politico-literary ‘classics debate’ over the need for a literary canon for the new Turkish culture and its most suitable source, Öyken and Dürüşken observe a focus on Virgil’s poetics rather than on the political value of his work. Similarly, the first complete translation of Virgil (through an intermediary translation in French), published in 1929 as one of the first books in the newly adopted Latin alphabet, represents the beginning of a new era in more than one sense.
土耳其人对维吉尔的接纳有着丰富多彩的历史，主要开始于19世纪末多民族的奥斯曼帝国衰落时期。这似乎是典型的维吉尔最初接受的文化，通常是欧洲，这主要与他感知到的理想主义有关。然而，对第一个时期进行更深入的研究(主要依赖于法国学术)就会发现，除了文化政治之外，还有其他因素在起作用。就在1897年政治文学“经典辩论”之后，关于新土耳其文化需要一部文学经典及其最合适的来源，Öyken和d r ken观察到维吉尔的诗学而不是他作品的政治价值。同样，《维吉尔》的第一个完整译本(通过法语的中间翻译)于1929年出版，是新采用拉丁字母的第一批书之一，在不止一个意义上代表了一个新时代的开始。
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780198817444.003.0008
Rosario Forlenza
The Conclusion contrasts the dominant structuralist and functionalist approaches to democracy and democratization, with the concept of the passage to democracy as an endogenous process of historical and symbolic articulation, and as the symbolization of lived experiences that engender transformations in consciousness, meanings, and beliefs. Rather than assuming a universal and externally determined model for the democratic process, it makes use of the Italian case to argue that democracy is a lengthy and ongoing narrative, and a process of meaning-formation in the context of political and existential uncertainty. Democratizing processes are determined not by socio-economic and cultural factors, not by the pursuit of strategies by the elites, but by a complex interweaving of individual and collective reaction to revolution, war, and dictatorship.
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780190634902.003.0005
Mark Burford
Like Johnny Myers, Bess Berman, head of Apollo Records, was a decisive agent in the growth of Mahalia Jackson’s career who has remained shadowy in the historical record. An often contentious relationship between Berman, daughter of Russian-Jewish immigrants, and Jackson, a black Southern migrant, nonetheless produced an important body of gospel recordings. Berman’s business ethics were questionable; she strategically avoided royalty payments to black gospel songwriters, often using Jackson’s name as cover. Though Jackson primarily recorded gospel songs for Berman, her Apollo career unfolded against the backdrop of the early Cold War and for the first time she added to her repertory the in-vogue religious pop songs that conveyed atomic age anxieties and affirmed American religiosity in opposition to “godless Communism.”
{"title":"Apollo Records and the Birth of Religious Pop","authors":"Mark Burford","doi":"10.1093/oso/9780190634902.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190634902.003.0005","url":null,"abstract":"Like Johnny Myers, Bess Berman, head of Apollo Records, was a decisive agent in the growth of Mahalia Jackson’s career who has remained shadowy in the historical record. An often contentious relationship between Berman, daughter of Russian-Jewish immigrants, and Jackson, a black Southern migrant, nonetheless produced an important body of gospel recordings. Berman’s business ethics were questionable; she strategically avoided royalty payments to black gospel songwriters, often using Jackson’s name as cover. Though Jackson primarily recorded gospel songs for Berman, her Apollo career unfolded against the backdrop of the early Cold War and for the first time she added to her repertory the in-vogue religious pop songs that conveyed atomic age anxieties and affirmed American religiosity in opposition to “godless Communism.”","PeriodicalId":308769,"journal":{"name":"Oxford Scholarship Online","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122358158","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 : 2018-11-22DOI: 10.1093/oso/9780198824466.003.0011
A. Milbank
Chapter 10 compares the work of J. Sheridan Le Fanu, Edgar Allan Poe, and Emmanuel Swedenborg. Le Fanu is closely connected to Maturin and copies a number of his tropes in ‘Spalatro’: mimetic contagion, blood for money, the demonic tempter, and suicide. Le Fanu, aware of the deathliness of his Anglo-Irish culture, seeks ways to engender life and movement through narrating and revealing death so that a transcendence beyond can be imagined. He is compared to Poe, whose female protagonists remain entrapped by materiality even as they seek to escape it, and shown to be more grotesque. He uses Swedenborg to render the afterlife itself material and real, especially through his spiritual creatures, and to make the transcendent the cause of the natural. A proto-feminist theology yokes female Gothic entrapment to the power of death, and the heroines of ‘Schalken the Painter’ and ‘Carmilla’ apocalyptically reveal the presence of death in its grotesque materiality, while the women of Uncle Silas act as agents of heavenly charity.
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780190497293.003.0002
John Lysaker
Chapter 1: Chapter 1 argues that Music for Airports organizes the activity of sounds outside of traditional musical orders. Because it avoids phenomena like keys, rhythm, or harmonic relation, it requires fresh ears. Exercises in “close listening” then follow, attending to each of the album’s four tracks. Because the sounds relate to each other in a free, juxtaposed manner, each track has the feel of a painting. But their temporal dimension shows the limit of that analogy. As each track is interpreted, so too are the odd scores that adorn the back of Eno’s album. Because they do not provide instructions for performers, they are better regarded as hints for the listener.
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Pub Date : 2018-11-22DOI: 10.1093/OSO/9780190922542.003.0010
Michael Skerker
This chapter will consider whether an inhabitant of a liberal state needs to be informed of all her government’s policies in order for that government to have legitimate authority to compel her actions. Another way of putting this question is whether government authority in a liberal state depends on full transparency. Security actors in a liberal state are charged with maintaining a relatively crime-free and peaceful society because such an environment is a necessary precondition for a person’s full enjoyment of her rights over time. State agents should pick consent-worthy tactics indexed to this consent-worthy end. Since efficacious tactics may be in tension with respect for people’s rights, consent-worthy tactics will be those that are the most efficacious, effective, reliable, proportionate, and rights-respecting available. Transparency is not necessary for legitimacy since legitimate government actions are indexed to the hypothetical consent of a generic person rather than the explicit consent of particular people. Transparency is necessary for inhabitants to ensure that state agents do not err or become corrupt in the pursuit of otherwise legitimate aims. Yet the complete disclosure of government actions will compromise some legitimate security-seeking missions. In these cases, the moral need for secrecy trumps the need for disclosure. Liberal governments then can conceal the existence of certain programs without compromising their authority to implement them. Secrecy opens the door to corruption, but thankfully, these parameters apply to few tactics.
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780198828167.003.0003
Frederick C. Beiser
This chapter is an account of Cohen’s early writings as a folk psychologist or anthropologist working within the new discipline of Völkerpsychologie founded by Moritz Lazarus and Heymann Steinthal (1865–1870). His work was very much historicist and empiricist in orientation and investigated such topics as the origins of religion and poetry. But there was also a direction toward logic and criticism, which evolved from his early interest in epistemology and the critical philosophy. Already in these years Cohen adopted a Kantian interpretation of Plato which will be decisive for all his later philosophy.
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Pub Date : 2018-11-22DOI: 10.1093/oso/9780198810810.003.0027
Ulrich Eigler
In Italy, Virgil is connected with cultural and political developments, especially with the language policy of the bourgeois elite during the unification of the country and the striving of the fascist movement to bring about a standard language. So the question of translations cannot be considered without looking at the turbulent history of Italy. Therefore this chapter starts out with a quick look at the significance of Virgil as an ‘Italian’ poet between Risorgimento and fascism. Then the chapter considers more closely Pier Paolo Pasolini’s experimental translation in 1959 of the opening part of the Aeneid, in contrast with traditional translations and the modern Italian version of Virgil by Vittorio Sermonti. This makes it possible to evaluate the position of Pasolini’s experiment and to come to some cautious generalizing conclusions on the Italian tradition of translating Virgil.
在意大利，维吉尔与文化和政治的发展联系在一起，特别是与国家统一期间资产阶级精英的语言政策和法西斯运动带来标准语言的努力有关。因此，如果不看看意大利动荡的历史，就不能考虑翻译的问题。因此，本章以维吉尔作为复兴运动和法西斯主义之间的“意大利”诗人的重要性开始。然后，这一章更仔细地考虑了Pier Paolo Pasolini在1959年对《埃涅阿斯纪》开头部分的实验性翻译，与传统翻译和维托里奥·塞尔蒙蒂对维吉尔的现代意大利版本形成对比。这使得我们有可能评价帕索里尼实验的地位，并对意大利翻译维吉尔的传统得出一些谨慎的概括结论。
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