Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0020
Lydia D. Goehr
Chapter 20 tells the history of the Red Sea anecdote. When and why exactly did the wall come to be covered over with the red of the Red Sea? Why was a fictional rogue painter replaced by a real painter only thereafter for the fiction to be endlessly confused with the facts? This chapter writes the history of all the interrelated tales associated with the anecdote as a common knowledge. It serves as a walking guide, vade-mecum, to take us, in the final chapter, to the final missing link. Together, the two chapters recapitulate all the threads of the detective work woven through every chapter of this book.
{"title":"Spreading the Anecdote","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0020","url":null,"abstract":"Chapter 20 tells the history of the Red Sea anecdote. When and why exactly did the wall come to be covered over with the red of the Red Sea? Why was a fictional rogue painter replaced by a real painter only thereafter for the fiction to be endlessly confused with the facts? This chapter writes the history of all the interrelated tales associated with the anecdote as a common knowledge. It serves as a walking guide, vade-mecum, to take us, in the final chapter, to the final missing link. Together, the two chapters recapitulate all the threads of the detective work woven through every chapter of this book.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77111987","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0014
Lydia D. Goehr
Chapter 14 tracks a divine and mythic parentage that relates the Red Sea to la vie de bohème. It shows the living and gay science as pitted against a deathly dismal science. Greying thoughts are shown as spreading in cities, streets, gardens, and homes where, most of all at home, the thinker rarely feels at home. The thinker, with many names, soon lands with Nietzsche, who, as I show, deliberately borrowed thoughts as untimely for his own times. Nietzsche’s contribution to a genealogy of liberty through a micrology of wit is presented, after which the discussion turns to the role of birds and of ladders in the pursuit of truth and error. This pursuit, always bearing on philosophical method, prepares for the subsequent critique of monochromatic formalism.
{"title":"Grey Days for a Gay Science","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0014","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0014","url":null,"abstract":"Chapter 14 tracks a divine and mythic parentage that relates the Red Sea to la vie de bohème. It shows the living and gay science as pitted against a deathly dismal science. Greying thoughts are shown as spreading in cities, streets, gardens, and homes where, most of all at home, the thinker rarely feels at home. The thinker, with many names, soon lands with Nietzsche, who, as I show, deliberately borrowed thoughts as untimely for his own times. Nietzsche’s contribution to a genealogy of liberty through a micrology of wit is presented, after which the discussion turns to the role of birds and of ladders in the pursuit of truth and error. This pursuit, always bearing on philosophical method, prepares for the subsequent critique of monochromatic formalism.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"203 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76421895","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0006
Lydia D. Goehr
Chapter 6 draws on the paragone, the comparison and contest among the different arts, and on ekphrasis, the rhetorical use of words to evoke visual images for the mind’s eye. It presents a spectrum of examples to prepare for the interpretation, in Chapter 7, of Puccini’s La Bohème. It brings Puccini’s opera onto Parnassus to stand alongside other works that contain ekphrastic moments of biblical, prophetic, or promissory significance. The most obviously pertinent works from among the many self-reflective artist-operas are those aiming for a liberation of life and art through evocations and invocations of the Red Sea Passage.
{"title":"Contesting Opera","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0006","url":null,"abstract":"Chapter 6 draws on the paragone, the comparison and contest among the different arts, and on ekphrasis, the rhetorical use of words to evoke visual images for the mind’s eye. It presents a spectrum of examples to prepare for the interpretation, in Chapter 7, of Puccini’s La Bohème. It brings Puccini’s opera onto Parnassus to stand alongside other works that contain ekphrastic moments of biblical, prophetic, or promissory significance. The most obviously pertinent works from among the many self-reflective artist-operas are those aiming for a liberation of life and art through evocations and invocations of the Red Sea Passage.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87225112","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0011
Lydia D. Goehr
In recent histories addressing the modern conceptualization of bohème, the Egyptian-origin thesis, even while known, is rarely subjected to vigorous enquiry. This is less true of histories written about the Gypsies, from which we learn that, around 1800, the thesis was rejected, and partly by being made explicit within the new sciences of the Enlightenment. Various disciplinary perspectives were engaged to prove that if the Gypsies originated in one place, then the place was not Egypt but India. But this thesis proved no less contrived than the rejected one. Chapter 11 focuses on the Egyptian-origin thesis, where the wandering of the Egyptian-Gypsies was brought into constant comparison and contrast with that of the Jews.
{"title":"Egyptian-Jewish Bohème","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0011","url":null,"abstract":"In recent histories addressing the modern conceptualization of bohème, the Egyptian-origin thesis, even while known, is rarely subjected to vigorous enquiry. This is less true of histories written about the Gypsies, from which we learn that, around 1800, the thesis was rejected, and partly by being made explicit within the new sciences of the Enlightenment. Various disciplinary perspectives were engaged to prove that if the Gypsies originated in one place, then the place was not Egypt but India. But this thesis proved no less contrived than the rejected one. Chapter 11 focuses on the Egyptian-origin thesis, where the wandering of the Egyptian-Gypsies was brought into constant comparison and contrast with that of the Jews.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"73 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74136967","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0018
Lydia D. Goehr
Part V brings everything back to London, to its age of analysis, reason, liberty, sense, and wit. It brings the transfiguration of the commonplace back to an aesthetic discourse that drove Danto two centuries later to the extremes of rage. Bringing the wit to the early transformations of the public sphere, it ends up in the most domesticated of spaces to find the first telling of the Red Sea anecdote. Chapter 18 focuses on two pictures by William Hogarth: The Enraged Musician and The Distrest Poet. There was meant to be a third, a painter in some sort of mood. The chapter reads the two pictures to speculate about the absent third. What it finds in the two images, it finds in all of Hogarth’s art: a wit of incongruity, ambiguity, and inversion. The wit supports a satire that, drawn loosely from virtue theory, addresses liberty and justice in a society of professions feared for their foreign taste and imposture.
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0013
Lydia D. Goehr
Chapter 13 follows the oceanic allegory over embattled fields and city streets into red rooms to ask when and why red appears everywhere before one’s eyes. It opens Part IV, which overall addresses the color red through examples linking the Red Sea Passage to the Red Square via the Red Thread. How has red, with its spread of terms and senses, been used to safeguard the monochromatic tendency against the wrong sort of spread—of black and white into every shade of grey? The middle chapters investigate the grey that was said to threaten the gay science and German Idealism given their engagement with formalism, abstraction, pluralism, perspectivism, relativism, and mood change. Everything contributes to the telling in Part V of the extraordinary history of the Red Sea anecdote.
{"title":"Reds of Art and War","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0013","url":null,"abstract":"Chapter 13 follows the oceanic allegory over embattled fields and city streets into red rooms to ask when and why red appears everywhere before one’s eyes. It opens Part IV, which overall addresses the color red through examples linking the Red Sea Passage to the Red Square via the Red Thread. How has red, with its spread of terms and senses, been used to safeguard the monochromatic tendency against the wrong sort of spread—of black and white into every shade of grey? The middle chapters investigate the grey that was said to threaten the gay science and German Idealism given their engagement with formalism, abstraction, pluralism, perspectivism, relativism, and mood change. Everything contributes to the telling in Part V of the extraordinary history of the Red Sea anecdote.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"231 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84691815","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0002
Lydia D. Goehr
Chapter 2 presents Danto’s intoxicated pursuit of art’s liberation and the historical narrative that led him to his most strident claims: first, about what it was possible for art to do when, and second, when the philosophy of art came to know its proper task. The more Danto addressed Hegelian, Marxist, Nietzschean, and Sartrean passages of thought, the greater his conviction that while social or political critique can motivate the philosopher almost as a will to freedom, equality, and justice, the analytical project of definition had finally to rest alone on the logic of the concept.
{"title":"Emancipation Narrative","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0002","url":null,"abstract":"Chapter 2 presents Danto’s intoxicated pursuit of art’s liberation and the historical narrative that led him to his most strident claims: first, about what it was possible for art to do when, and second, when the philosophy of art came to know its proper task. The more Danto addressed Hegelian, Marxist, Nietzschean, and Sartrean passages of thought, the greater his conviction that while social or political critique can motivate the philosopher almost as a will to freedom, equality, and justice, the analytical project of definition had finally to rest alone on the logic of the concept.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78226919","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0012
Lydia D. Goehr
Chapter 12 follows the rough and tumble baggage of a language carried along the geographical and existential roads of bohème. It traces the Egyptian-Gypsy-Bohemian language in an unease of confusion with the so-described secret slang of the Jews. It explores the gossip of gutter-sniping, banter, and slang evident in books of copie and the commonplace. Yet its main purpose is to observe the transfiguration of the cant of common words, the claimed mastery that turned the cant to a master-singing or to an art-speak for poetry, literature, song, music, opera, and painting. Watching the turns, it enters the café, vaudeville, and theater of spectacle in different countries until it reaches a high point of intoxication in a song sung for the Red Sea. It follows Moses, Marsyas, Momus, and Midas with an eye always to understanding Murger’s Marcel
{"title":"Mastering the Cant in Cafés of Complaint","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0012","url":null,"abstract":"Chapter 12 follows the rough and tumble baggage of a language carried along the geographical and existential roads of bohème. It traces the Egyptian-Gypsy-Bohemian language in an unease of confusion with the so-described secret slang of the Jews. It explores the gossip of gutter-sniping, banter, and slang evident in books of copie and the commonplace. Yet its main purpose is to observe the transfiguration of the cant of common words, the claimed mastery that turned the cant to a master-singing or to an art-speak for poetry, literature, song, music, opera, and painting. Watching the turns, it enters the café, vaudeville, and theater of spectacle in different countries until it reaches a high point of intoxication in a song sung for the Red Sea. It follows Moses, Marsyas, Momus, and Midas with an eye always to understanding Murger’s Marcel","PeriodicalId":62574,"journal":{"name":"红树林","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85054401","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0021
Lydia D. Goehr
The pains of a hard labor bring the final chapter, Chapter 21, to the twins born to be measured on the scales of industry and idleness. Philosophically domesticated all the way into the bedroom, the wit comes to heel one last time with the painter’s brush. The first telling of the Red Sea anecdote is told and the final explanation given for why a single painter in London was named the painter of a blood sport, wherein an entire wall was covered over by the waters of the Red Sea. Why had the sea to be red? Had the sea to be red? The chapter completes the genealogy of liberty as worked through a micrology of wit. The wit, entirely domesticated, binds the Red Sea to the Red Thread given a skewed Red Square placed high up in a ceiling corner. The settlement of a marriage contract becomes the resettlement of art’s contract with modern times.
{"title":"Tying the Knot","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0021","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0021","url":null,"abstract":"The pains of a hard labor bring the final chapter, Chapter 21, to the twins born to be measured on the scales of industry and idleness. Philosophically domesticated all the way into the bedroom, the wit comes to heel one last time with the painter’s brush. The first telling of the Red Sea anecdote is told and the final explanation given for why a single painter in London was named the painter of a blood sport, wherein an entire wall was covered over by the waters of the Red Sea. Why had the sea to be red? Had the sea to be red? The chapter completes the genealogy of liberty as worked through a micrology of wit. The wit, entirely domesticated, binds the Red Sea to the Red Thread given a skewed Red Square placed high up in a ceiling corner. The settlement of a marriage contract becomes the resettlement of art’s contract with modern times.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82181882","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 : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0009
Lydia D. Goehr
Part III travels carte blanche across disciplines, centuries, genres, and languages, often stressing the remaindering of sacred thoughts in secular and profaned images of art. Chapter 9 tracks, first, the mobility of selected terms, the typology of figures and motifs, and the associative rationales or syncretistic legends that allowed the Red Sea Passage to come to stand for The Event or The Exodus. And second, the explanatory ground for the significant alteration around 1800 in the terms of bohème. The material shows how the syncretistic typology became a repetitive and divisive stereotyping of divided peoples.
{"title":"Refiguring Exodus","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0009","url":null,"abstract":"Part III travels carte blanche across disciplines, centuries, genres, and languages, often stressing the remaindering of sacred thoughts in secular and profaned images of art. Chapter 9 tracks, first, the mobility of selected terms, the typology of figures and motifs, and the associative rationales or syncretistic legends that allowed the Red Sea Passage to come to stand for The Event or The Exodus. And second, the explanatory ground for the significant alteration around 1800 in the terms of bohème. The material shows how the syncretistic typology became a repetitive and divisive stereotyping of divided peoples.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88814996","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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