Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Making of the State Writer: Social and Aesthetic Origins of Soviet Literary Culture

The Making of the State Writer: Social and Aesthetic Origins of Soviet Literary Culture BOOK REVIEWS/79 “lesbian-like” experience. If Chaucer assures us his Prioress is all “conscience and tendre herte,” the tale she tells reveals how her devotion relies on the musical torture of liturgical pedagogy. These are the terms under which Holsinger frames his arguments; they are the terms under which I think they should be judged. Holsinger divides Music, Body, and Desire into four parts. In the first section he demonstrates that the musical legacy antiquity bequeathed to the earliest doctors of the Church was not limited to platonic harmonics of number and ratio. Stoic naturalism and Roman oratory acknowledged the fundamental importance of the performing body, and the Greek and Latin fathers imported precepts from both traditions when they incorporated musical materialism into their biblical hermeneutics. By distinguishing between the body and the flesh, Clement of Alexandria, for example, redeemed the dust and clay that houses the imperishable soul by calling attention not only to its concordant composition but also to the concinnity of the melodies it emits in martyrdom. In the West, Augustine would rescore in different keys a similar collision between the anxieties and pleasures of song and flesh; while he continually located music’s merit in its http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

The Making of the State Writer: Social and Aesthetic Origins of Soviet Literary Culture

Comparative Literature , Volume 55 (1) – Jan 1, 2003

Loading next page...
 
/lp/duke-university-press/the-making-of-the-state-writer-social-and-aesthetic-origins-of-soviet-dKDd0xTZNx

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Duke University Press
Copyright
Copyright 2003 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-55-1-81
Publisher site
See Article on Publisher Site

Abstract

BOOK REVIEWS/79 “lesbian-like” experience. If Chaucer assures us his Prioress is all “conscience and tendre herte,” the tale she tells reveals how her devotion relies on the musical torture of liturgical pedagogy. These are the terms under which Holsinger frames his arguments; they are the terms under which I think they should be judged. Holsinger divides Music, Body, and Desire into four parts. In the first section he demonstrates that the musical legacy antiquity bequeathed to the earliest doctors of the Church was not limited to platonic harmonics of number and ratio. Stoic naturalism and Roman oratory acknowledged the fundamental importance of the performing body, and the Greek and Latin fathers imported precepts from both traditions when they incorporated musical materialism into their biblical hermeneutics. By distinguishing between the body and the flesh, Clement of Alexandria, for example, redeemed the dust and clay that houses the imperishable soul by calling attention not only to its concordant composition but also to the concinnity of the melodies it emits in martyrdom. In the West, Augustine would rescore in different keys a similar collision between the anxieties and pleasures of song and flesh; while he continually located music’s merit in its

Journal

Comparative LiteratureDuke University Press

Published: Jan 1, 2003

There are no references for this article.