scholarly journals The Theology of Sound: A Critique of Orality

2011 ◽  
Vol 36 (2) ◽  
Author(s):  
Jonathan Sterne
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Marshall Mcluhan ◽  
Walter Ong ◽  
History Of

ABSTRACT  This article offers an intellectual history and critique of the concept of orality as developed by writers of the Toronto School, focusing especially on the work of Walter Ong and, to a lesser extent, Marshall McLuhan. It argues that common scholarly uses of orality, especially as a theory of acoustic or sound-based culture, are derived from the spirit-letter distinction in Christian spiritualism and a misreading of Hebraic philology by mid-twentieth-century theologians. It argues for a new history of early media and for a new global anthropology of communication that does not operate under the sign of orality. We can thereby honour the curiosity of scholars such as Harold Innis and Edmund Carpenter without taking their findings as timeless truths.RÉSUMÉ  Cet article offre une histoire intellectuelle et critique du concept d’oralité tel que  développé par des auteurs de l’École de Toronto, en portant une attention particulière à l’oeuvre de Walter Ong et, dans une moindre mesure, Marshall McLuhan. Il soutient que les applications académiques les plus communes de l’oralité, notamment en tant que théorie d’une culture acoustique ou sonore, se fondent sur la distinction esprit/lettre du spiritualisme chrétien et une lecture erronée de la philologie hébraïque par des théologiens du milieu du vingtième siècle. Cet article propose une nouvelle histoire des médias originels et une nouvelle anthropologie mondiale de la communication qui dépasseraient les conceptions conventionnelles de ce qu’est l’oralité. Nous pourrions ainsi honorer la curiosité de chercheurs comme Harold Innis et Edmund Carpenter sans devoir accepter leurs conclusions comme si elles étaient des vérités intemporelles.

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

On History in Southwest Archaeology

2017 ◽  
Author(s):  
Severin Fowles ◽  
Barbara Mills
Keyword(s):  
Twentieth Century ◽  
Resource Management ◽  
Intellectual History ◽  
Turn Of The Century ◽  
Southwest Archaeology ◽  
American Military ◽  
Archaeological Practice ◽  
History Of Research ◽  
Historical Turn ◽  
History Of

As an introduction to the Handbook, this chapter examines the question of history in Southwest archaeology in two senses. First, it traces the intellectual history of research in the region: from the nineteenth-century inauguration of Southwest archaeology as an extension of American military conquest, to the museum-oriented expeditions of the turn of the century, to the scientific advances and the growth of culture resource management during the twentieth century, to the impacts of Indigenous critiques and the development of collaborative approaches most recently. Second, the chapter explores the shifting status of “history” as a central goal of archaeological practice. How have archaeologists constructed—or resisted—narratives to account for the contingent unfolding of Indigenous and colonial societies in the region? What bodies of method and theory have guided these efforts? In addressing these questions, the chapter marks and participates in a growing historical turn in Southwest archaeology.

Invisible Bodies

2018 ◽  
Vol 13 (1-2) ◽  
pp. 33-68
Author(s):  
Lan A. Li
Keyword(s):  
Twentieth Century ◽  
Chinese Medicine ◽  
History Of Medicine ◽  
Intellectual History ◽  
English Language ◽  
Social Hierarchies ◽  
Material Characteristics ◽  
The Social ◽  
Close Study ◽  
History Of

AbstractThis essay explores the ways in which Lu Gwei-djen (1904–91) served as a gatekeeper for interpreting medicine in China in the second half of the twentieth century. After retiring from science in 1956, Lu set out to write one of the first comprehensive English-language histories of medicine in China. Through a close study of Lu’s work notes and marginalia from later in her life, this essay examines how she carefully articulated the material characteristics of a “Chinese” medicine that gave rise to jingluo, or therapeutic paths often known as “meridians.” I argue that at the heart of this uneasy comparison was the difficult process of translating across multiple expressions of physiology. By placing Lu Gwei-djen at the center of a feminist intellectual history of medicine, this essay further shows how Lu’s translations were influenced by the social hierarchies in which she was embedded, including cultural, gender, and temporal dualities.

Introduction

2020 ◽  
pp. 1-30
Author(s):  
William Ghosh
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Caribbean Region ◽  
The Political ◽  
The World ◽  
Colonial Experience ◽  
History Of ◽  
The Caribbean ◽  
Formed Part ◽  
Historical Past

V.S. Naipaul is one of the most internationally acclaimed twentieth-century writers from the Caribbean region. Yet it is usually assumed that he was neither much influenced by the Caribbean literary and intellectual tradition, nor very influential upon it. This chapter argues that these assumptions are wrong. It situates Naipaul’s life and work within the political, social, and intellectual history of the twentieth-century Caribbean. Naipaul’s work formed part of a larger historical debate about the sociology of slavery in the Caribbean, the specificity of Caribbean colonial experience, and the influence of that historical past on Caribbean life, culture, and politics after independence. The chapter closes with a reading of Naipaul’s late, retrospective book about Trinidad, A Way in the World.

Introduction: In Defence of Paraphrase

2020 ◽  
pp. 1-38
Author(s):  
Patrick Fessenbecker
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Intellectual History ◽  
Literary Studies ◽  
Reading Practice ◽  
The World ◽  
History Of ◽  
Art For Art's Sake ◽  
Aesthetic Structure

How did “reading for the message,” a mark of shame among literary critics, yet in many ways an ordinary reading practice, become so marginalized? The origins of this methodological commitment ultimately are intertwined with the birth of literary studies itself . The influential aestheticist notion of “art for art’s sake” has several implications crucial for understanding the intellectual history of literary criticism in the twentieth century: most important was the belief that to “extract” an idea from a text was to dismiss its aesthetic structure. This impulse culminated in the New Critical contention that to paraphrase a text was a “heresy.” Yet this dominant tradition has always co-existed with practical interpretation that was much less formalist in emphasis. A return to the world of American literary criticism in 1947, when Cleanth Brooks’s The Well-Wrought Urn was published, shows this clearly: many now-forgotten critics were already practicing a form of criticism that emphasized literary content, and often overly rejecting Brooks’s insistence that reading for the content or meaning of a poem betrayed its aesthetic nature.

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