Ben Jonson and the Illusion of Completeness

PMLA ◽  
1969 ◽  
Vol 84 (1) ◽  
pp. 51-59 ◽  
Author(s):  
L. A. Beaturline
Keyword(s):  
Seventeenth Century ◽  
Ben Jonson ◽  
External World ◽  
The Other ◽  
Bertrand Russell ◽  
Infinite Class ◽  
Literary Forms ◽  
Significant Distinction ◽  
Century Literature

IN Our Knowledge of the External World, Bertrand Russell makes a significant distinction between two kinds of infinity. One kind is illustrated by the progression from zero to 1, 2, 3, 4, 5, on to infinity; Russell calls this an infinite progression, and it is unlimited. The other idea is illustrated by the division of an interval between, say, one and two; first divide it into halves, then divide each of those halves, and so on infinitely. This is a compact series or an infinite class, and it is limited. The infinite progression and the infinite class are quite different ideas, and they have different philosophical uses. I suggest that a similar distinction may be made concerning literary forms, and that this distinction helps us to understand what is new about Ben Jonson's dramatic method. The distinction reverberates through seventeenth-century literature, I believe, but Jonson is especially interesting because he is somewhat of a pioneer.

L. A. Beaurline and the Illusion of Completeness

PMLA ◽  
1971 ◽  
Vol 86 (1) ◽  
pp. 121-127
Author(s):  
Ejner J. Jensen ◽  
L. A. Beaurline
Keyword(s):  
Human Activities ◽  
Recent Article ◽  
Ben Jonson ◽  
History Of Ideas ◽  
The Other ◽  
Literary Works ◽  
Overall Design ◽  
Literary Forms ◽  
History Of ◽  
The Moment

Scholarship, like most human activities, has its fashions. One mode very much in the ascendant at the moment is that which concerns itself with the relation between literary forms and other intellectual structures in a given era ; its method might be described as a combination of the history of ideas with a sort of formalism. L. A. Beaurline's recent article on Ben Jonson, in its design and strategy, illustrates this approach.1 The overall design of such a paper may be indicated as follows: the scholar describes a concept for which he claims wide intellectual acceptance; next, he shows how this concept may be traced in certain literary works. After this initial demonstration, his strategy consists primarily of moving between specific works of literature and other manifestations of the concept to show how each class illuminates the other and how each substantiates the other's status. The end of all this activity is not merely increased understanding of the temper of an age, nor is it merely a clearer view of the works under discussion; ideally, it is both.

Onward Christian Soldiers

2018 ◽  
Author(s):  
Michael Ruse
Keyword(s):  
First World War ◽  
The Other ◽  
Bertrand Russell ◽  
World War ◽  
Moral Purpose ◽  
The First World War ◽  
Fellowship Of Reconciliation ◽  
Christian Leaders ◽  
First World ◽  
Religious War

In 1914, Europe went to war, because of German expansionism, but without a central moral purpose as in 1939. Christian leaders had to scramble to find justification, which they soon located in our sinful nature, and most particularly the sinful nature of the opponents. In major respects, therefore, the First World War was a religious war, battling against the infidel. Anglican leaders, like the Bishop of London, Arthur F. Winnington Ingram, urged the necessity of killing Germans; and Lutheran leaders on the other side, like Adolf von Harnack, were no less bloodthirsty. There was an often-despised pacifist minority. In England, this included the philosopher Bertrand Russell, who was very much not a Christian, and members of the “Fellowship of Reconciliation,” who very much were Christians. In America, the Episcopalian bishop of Utah, Paul Jones, got the sack because of his pacifism, and the Catholic Ben Salmon was sent to jail and refused communion by his church.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Temporality and Truth

2013 ◽  
Vol 7 (3) ◽  
pp. 377-389 ◽  
Author(s):  
Daniel W. Smith
Keyword(s):  
Seventeenth Century ◽  
Laws Of Nature ◽  
Continuous Variation ◽  
Pure Form ◽  
The Other ◽  
Other Hand ◽  
The One ◽  
Time Image ◽  
Positive Light

This paper examines the intersecting of the themes of temporality and truth in Deleuze's philosophy. For the ancients, truth was something eternal: what was true was true in all times and in all places. Temporality (coming to be and passing away) was the realm of the mutable, not the eternal. In the seventeenth century, change began to be seen in a positive light (progress, evolution, and so on), but this change was seen to be possible only because of the immutable laws of nature that govern change. It was not until philosophers such as Bergson, James, Whitehead – and then Deleuze – that time began to be taken seriously on its own account. On the one hand, in Deleuze, time, freed from its subordination to movement, now becomes autonomous: it is the pure form of change (continuous variation) that lies at the basis of Deleuze's metaphysics in Difference and Repetition (and is explored more thematically in The Time-Image). As a result, on the other hand, the false, freed from its subordination to the form of the true, assumes a power of its own (the power of the false), which in turn implies a new ‘analytic of the concept’ that Deleuze develops in What Is Philosophy?

Bilingual Heaven: Was There a Distinct Persianate Islam in the Early Modern Ottoman Empire?

2021 ◽  
Vol 6 (1-2) ◽  
pp. 214-241
Author(s):  
Aslıhan Gürbüzel
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Ottoman Empire ◽  
The Other ◽  
Reform Movement ◽  
Sacred Text ◽  
Native Languages ◽  
Islamic Tradition ◽  
Legal Discourses ◽  
Other World

Abstract What is the language of heaven? Is Arabic the only language allowed in the eternal world of the virtuous, or will Muslims continue to speak their native languages in the other world? While learned scholars debated the language of heaven since the early days of Islam, the question gained renewed vigor in seventeenth century Istanbul against the background of a puritan reform movement which criticized the usage of Persian and the Persianate canon as sacred text. In response, Mevlevī authors argued for the discursive authority of the Persianate mystical canon in Islamic tradition (sunna). Focusing on this debate, this article argues that early modern Ottoman authors recognized non-legal discourses as integral and constitutive parts of the Islamic tradition. By adopting the imagery of bilingual heaven, they conceptualized Islamic tradition as a diverse discursive tradition. Alongside diversity, another important feature of Persianate Islam was a positive propensity towards innovations.

Invisible Architectures

2000 ◽  
Vol 13 (1) ◽  
pp. 121-136 ◽  
Author(s):  
Hans-Jörg Rheinberger
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Historical Development ◽  
Basic Problem ◽  
Life Sciences ◽  
The Other ◽  
Modern Life ◽  
Historical Process ◽  
Strategy I ◽  
The Invisible

The ArgumentIn this essay I will sketch a few instances of how, and a few forms in which, the “invisible” became an epistemic category in the development of the life sciences from the seventeenth century through the end of the nineteenth century. In contrast to most of the other papers in this issue, I do not so much focus on the visualization of various little entities, and the tools and contexts in which a visual representation of these things was realized. I will be more concerned with the basic problem of introducing entities or structures that cannot be seen, as elements of an explanatory strategy. I will try to review the ways in which the invisibility of such entities moved from the unproblematic status of just being too small to be accessible to the naked or even the armed eye, to the problematic status of being invisible in principle and yet being indispensable within a given explanatory framework. The epistemological concern of the paper is thus to sketch the historical process of how the “unseen” became a problem in the modern life sciences. The coming into being of the invisible as a space full of paradoxes is itself the product of a historical development that still awaits proper reconstruction.

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