DOCSLIB.ORG

Phantom Formations Phantom Formations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Phantom Formations Phantom Formations PHANTOM FORMATIONS PHANTOM FORMATIONS MARC REDFIELD CORNELL UNIVERSITY PRESS ITHACA AND LONDON Aesthetic Ideology and the Bildungsroman '!'AB. V. P'S.II. Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. The illustration on the title page is from Peter Camper, Dissertation sur les Variétés Naturelles qui caracterisent la physionomie des hommes des divers climats et des differens ages (Paris: Francart, 1792). Reprinted by permission of the Bancroft Library of the University of California. Copyright © 1996 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850, or visit our website at cornellpress.cornell.edu. First published 1996 by Cornell University Press Library of Congress Cataloging-in-Publication Data Redfield, Marc, b. 1958 Phantom formations : aesthetic ideology and the Bildungsroman / Marc Redfield. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8014-3236-1 (cloth) — ISBN-13: 978-1-5017-2316-2 (pbk.) 1. Bildungsroman. 2. German fiction—19th century—History and criticism. 3. European fiction—19th century—History and criticism. 4. Aesthetics, Modern. I. Title. PT747.E6R43 1996 809.3′0094—dc20 96-17186 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Cover illustration: “The Sculptor Instructing Wilhelm,” wood engraving from Goethe’s Works, Illustrated by the Best German Writers, vol. 5. Ed. George Barrie. Philadelphia, 1885. Contents Preface vii Acknowledgments xiii 1 Aesthetic Ideology 1 2 The Phantom Bildungsroman 38 3 Ghostly Bildung: Wilhelm Meisters Lehrjahre 63 4 The Dissection of the State: Wi lhelm Meisters Wa nderjahre and the Politics of Aesthetics 95 Postscript: The Trouble with Schiller 125 5 The Aesthetics of Sympathy: George Eliot's Telepathy Machine 134 6 Aesthetics and History: L'Education sentimentale 171 7 Conclusions 201 Index 215 v Preface In a modest but ineluctable fashion, the specter of the Bildungsroman haunts literary criticism. This genre does not properly exist, and in a sense can be proved not to exist: one can take canonical definitions of Bildung (itself no simple term), go to the novels most frequently called Bildungsromane, and with greater or lesser difficulty show that they exceed, or fall short of, or call into question the process of Bildung which they purportedly serve. Even Wilhelm Meisters Lehrjahre can be (and has been) excluded from the genre it exemplifies. Nor does one need to be a postmod­ ern literary theorist to encounter thisparadox. Soundly humanistic Germa­ nists have been doing so ever since the term Bildungsroman began to circu­ late in the early decades of the twentieth century (for another odd feature of this supposedly nineteenth-century genre is that its name barely appears in the literary record prior to the publication of Wilhelm Dilthey' s Experience and Poetry [ t906]: its currency is roughly coterminous with the professional­ ization of academic literary study). Yet despite, or because of, its referential complexity, the notion of the Bildungsroman is one of academic criticism's most overwhelmingly successful inventions. Few professional terms (let alone German ones) have achieved comparable dissemination in Western literary culture; and critics probably will go on talking about the Bildungsro­ man as long as the institutions of literary criticism as we know them sur­ vive. The Bildungsroman exemplifies the ideological construction of litera­ ture by criticism. In consequence, the issues raised by this pseudo genre greatly surpass the literal terms of the debate over whether it exists or not. My central vii viii Preface argument in this book is that the notion of the Bildungsroman brings into sharp focus the promises and pitfalls of aesthetics, and that aesthetics in turn exemplifies what we call ideology. As a result, this book is not in the ordinary sense a book about the Bildungsroman. It is certainly a work of literary criticism and offers as central to its self-justification readings of novels by Goethe, George Eliot, and Flaubert. But since my analyses discover in the rather minor professional embarrassment of the Bildungs­ roman the infinitely inflatable question of the aesthetic, I am also writing about what we mean by culture, history, and humanity, what we do when we read or teach literature, and why the twentieth-century institutionali­ zation of literature has generated the curious phenomenon of "literary theory." In an indirect fashion this book is about the literary institution and thus also about the political, technical, and cultural worlds which this in­ stitution at once excludes and commemorates. This breadth of ambition stems from the peculiar difficulties of writing about aesthetic ideology. Few narratives are more familiar to scholars of modern literature and culture than the story of the appearance of aesthetics, both as a new philo­ sophical category and as a massively diffuse and influential discourse­ one that provided the post-Romantic Western world with meanings for words such as "culture" and "art" that we now consider primary. The topic of beauty is as old as philosophy, but the notion of the aesthetic as a particu­ lar sort of experience or judgment or class of objects does not begin to appear regularly until the eighteenth century. At the same time, large-scale historical developments were permitting, as is well known, the emergence of art and literature in their modern sense, and the transformation of the artist into the genius, the representative of universal humanity, whose pro­ ductions transcend the system of commodity exchange which enables them. Aesthetics partakes of the emergence of the universal subject of bour­ geois ideology. Indeed, aesthetics enables and exemplifies the production of this subject. For though aesthetics has usually been subordinated to logic or ethics be- cause of its dependence on a sensory element, this very hybridity of the aesthetic makes it a privileged point of contact between the supersensible and the sensory worlds, and also grants it inherent pragmatic and ped­ agogical force. Since its mission is to guarantee and promote spirit's artic­ ulation with the world, the aesthetic establishes "disinterested" space in the service of a certain referential effectivity. In the harmonious free play of the faculties which results when Kant's subject performs a disinterested aes­ thetic judgment, the judging subject becomes exemplary-capable, in its formality, of representing universal humanity. Thus in Schiller's influential On the Aesthetic Education of Man (1795), Kantian themes easily acquire political and historical dimensions. Because aesthetic education is at once Preface ix the universal history /1 of man" and the specific history of the acculturation of certain groups and individuals, aesthetics provides a powerful self­ validating mechanism for the representativeness of the social groups which can claim to have achieved and inherited this understanding of accultura­ tion. The sheerly empirical qualities of being European, white, middle­ class, male, and so on become either tacitly or overtly essentialized as privileged sites in the unfolding of an irreversible aesthetic history. Thus from the sober precincts of philosophy one is led with disconcerting speed to the large reaches of ideology; indeed, ideology then becomes a limit-term difficult to control. For this aesthetic logic of exemplarity subtends power­ ful Western ideas and discourses of the self, the nation, race, historical process, the literary canon, and the function of criticism; it informs the role of the cultural sphere in modem Western societies, and the mission of the humanities in the modem university. And aesthetics not only structures crucial aspects of mainstream post-Romantic Western culture but also shapes this culture's internal nightmare, as Walter Benjamin indicated in his famous characterization of fascism as the /1 aestheticization of politics." A lurid but necessary task facing any genuine critique of aesthetics is that of engaging both the abyssal difference and the complex proximities between the humanist tradition and what Philippe Lacoue-Labarthe and Jean-Luc Nancy call "the Nazi myth" -a phrase coined to describe not the so­ ciohistorical actuality of German fascism but rather the decisive turns of an ideology that transforms the representative subject of aesthetics into the exemplarity of a master race, and the humanistic, deferred promise of Schiller's Aesthetic State into the violent immediacy of a destiny. Aesthetics thus poses the question of "ideology" itself in its vacillation between philosophy and politics, and between the languages and practices of high culture and those of modem propaganda. Furthermore, as a process of and discourse about formalization, aesthetics is always also prepared to function as a figure for the act of signification itself. The inflationary aes­ thetic spiral generates the limit-term of ideology as "language." As a philo­ sophical category,aesthetics is the place where the cognitive manifests itself in the phenomenal-where the essential structure of the sign, in other words, seems to unfold itself
Load more

Recommended publications
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Jordanes and the Invention of Roman-Gothic History Dissertation
    Empire of Hope and Tragedy: Jordanes and the Invention of Roman-Gothic History Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian Swain Graduate Program in History The Ohio State University 2014 Dissertation Committee: Timothy Gregory, Co-advisor Anthony Kaldellis Kristina Sessa, Co-advisor Copyright by Brian Swain 2014 Abstract This dissertation explores the intersection of political and ethnic conflict during the emperor Justinian’s wars of reconquest through the figure and texts of Jordanes, the earliest barbarian voice to survive antiquity. Jordanes was ethnically Gothic - and yet he also claimed a Roman identity. Writing from Constantinople in 551, he penned two Latin histories on the Gothic and Roman pasts respectively. Crucially, Jordanes wrote while Goths and Romans clashed in the imperial war to reclaim the Italian homeland that had been under Gothic rule since 493. That a Roman Goth wrote about Goths while Rome was at war with Goths is significant and has no analogue in the ancient record. I argue that it was precisely this conflict which prompted Jordanes’ historical inquiry. Jordanes, though, has long been considered a mere copyist, and seldom treated as an historian with ideas of his own. And the few scholars who have treated Jordanes as an original author have dampened the significance of his Gothicness by arguing that barbarian ethnicities were evanescent and subsumed by the gravity of a Roman political identity. They hold that Jordanes was simply a Roman who can tell us only about Roman things, and supported the Roman emperor in his war against the Goths.
    [Show full text]
  • The Saint's Tragedy 1
    The Saint's Tragedy 1 The Saint's Tragedy The Project Gutenberg eBook, The Saint's Tragedy, by Charles Kingsley This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Saint's Tragedy Author: Charles Kingsley Release Date: February 27, 2004 [eBook #11346] Language: English Character set encoding: US-ASCII The Saint's Tragedy 2 ***START OF THE PROJECT GUTENBERG EBOOK THE SAINT'S TRAGEDY*** Transcribed by David Price, email [email protected] THE SAINT'S TRAGEDY PREFACE BY THE REV. F. D. MAURICE, M.A. (1848) The writer of this play does not differ with his countrymen generally, as to the nature and requirements of a Drama. He has learnt from our Great Masters that it should exhibit human beings engaged in some earnest struggle, certain outward aspects of which may possibly be a spectacle for the amusement of idlers, but which in itself is for the study and the sympathy of those who are struggling themselves. A Drama, he feels, should not aim at the inculcation of any definite maxim; the moral of it lies in the action and the character. It must be drawn out of them by the heart and experience of the reader, not forced upon him by the author. The men and women whom he presents are not to be his spokesmen; they are to utter themselves freely in such language, grave or mirthful, as best expresses what they feel and what they are.
    [Show full text]
  • Father Ed Dowling — Page 1
    CHESNUT — FATHER ED DOWLING — PAGE 1 May 1, 2015 Father Ed Dowling CHESNUT — FATHER ED DOWLING — PAGE 2 Father Ed Dowling Bill Wilson’s Sponsor Glenn F. Chesnut CHESNUT — FATHER ED DOWLING — PAGE 3 QUOTES “The two greatest obstacles to democracy in the United States are, first, the widespread delusion among the poor that we have a de- mocracy, and second, the chronic terror among the rich, lest we get it.” Edward Dowling, Chicago Daily News, July 28, 1941. Father Ed rejoiced that in “moving therapy from the expensive clinical couch to the low-cost coffee bar, from the inexperienced professional to the informed amateur, AA has democratized sani- ty.”1 “At one Cana Conference he commented, ‘No man thinks he’s ug- ly. If he’s fat, he thinks he looks like Taft. If he’s lanky, he thinks he looks like Lincoln.’”2 Edward Dowling, S.J., of the Queen’s Work staff, says, “Alcohol- ics Anonymous is natural; it is natural at the point where nature comes closest to the supernatural, namely in humiliations and in consequent humility. There is something spiritual about an art mu- seum or a symphony, and the Catholic Church approves of our use of them. There is something spiritual about A.A. too, and Catholic participation in it almost invariably results in poor Catholics be- coming better Catholics.” Added as an appendix to the Big Book in 1955.3 CHESNUT — FATHER ED DOWLING — PAGE 4 “‘God resists the proud, assists the humble. The shortest cut to humility is humiliations, which AA has in abundance.
    [Show full text]
  • 1 Demarcating Ekphrasis in Mesopotamia 11
    Visualizing the invisible with the human body Science, Technology, and Medicine in Ancient Cultures Edited by Markus Asper Philip van der Eijk Mark Geller Heinrich von Staden Liba Taub Volume 10 Visualizing the invisible with the human body Physiognomy and ekphrasis in the ancient world Edited by J. Cale Johnson and Alessandro Stavru The work on this volume as part of the project BabMed – Babylonian Medicine has been funded by the European Research Council (ERC) under the European Union’s Seventh Framework Programme (FP7/2007–2013; Project No. 323596). ISBN 978-3-11-061826-6 e-ISBN (PDF) 978-3-11-064269-8 e-ISBN (EPUB) 978-3-11-064268-1 ISSN 2194-976X This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019935643 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 J. Cale Johnson and Alessandro Stavru, published by Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents J. Cale Johnson and Alessandro Stavru Introduction to “Visualizing the invisible with the human body: Physiognomy and ekphrasis in the ancient world”
    [Show full text]
  • Hit and Run Marshall High School Victim Remains Hospitalized After
    Los Feliz Ledger Read by 100,000+ Residents and Business Owners in Los Feliz, Silver Lake, Vol 10. No. 1 July 2014 Atwater Village, Echo Park & Hollywood Hills As City Seeks O’Farrell: “CD13 Greek Suitors Tops New Revenue is Key Affordable By Ryan White Housing Ledger Contributing Writer Construction” Is your company ranked By Colin Stutz among the top 50 worldwide Ledger Senior Contributing concert promoters in the Writer last three years? If so, you’ve cleared one hurdle on the At one year in office, Los laundry list of requirements Angeles City Councilmember for applicants interested in op- Mitch O’Farrell is pushing for erating the city-owned Greek career-defining legislation. His Theatre. ambition is to develop a current The city of Los Angeles affordable housing policy in is currently accepting propos- Los Angeles reflective of what als from venue operators, but he calls a crisis. the theater’s current operator, Since 1979 when the city’s Nederlander Concerts, said rent stabilization ordinance it wants to keep running the went into affect to protect ten- Greek. ants from excessive rent in- “The Greek Theatre has creases, he said, the city’s pop- been voted the top amphithe- ulation has grown by nearly 1 ater in its class nationwide for million, roughly 25%. 14 years under Nederlander’s AGAINST THE GOVERNER’S WISHES—Water sprays at the Mulholland Fountain in Griffith Park, even after California Gov. “In that same period, Jerry Brown has issued an executive order, due to historic drought conditions, that cities turn off fountains unless the stewardship,” said spokes- water used is “recycled.” The Mulholland Fountain, according to Los Angeles Dept.
    [Show full text]
  • Cauldron the the Cauldron 2016-2017
    2016-2017 THE CAULDRON VOLUME 37 THE CAULDRON The CAULDRON 2016-2017 STAFF ACKNOWLEDGEMENTS FACULTY ADVISOR Diane Seuss CO-EDITORS Isabela Agosa Lauren Perlaki SUBMISSIONS EDITOR The Editors would like to extend our deepest gratitude: Rachel Williams To Diane Seuss for her continued support of this magazine. Her wisdom, support, and encouragement have continually DESIGN AND PRODUCTION allowed us, as students, to produce a wonderful anthology Lynnette Pryor of student voices. She has been at the heart of our literary Craig Simpson community on campus and also at the heart of The Cauldron. While she will be missed dearly, The Cauldron will always VISUAL ARTS COMMITTEE carry traces of her magic. Committee Chair: Malavika Rao Sam Gleason To our Divine Crow Judge, Bruce Lack for reading and Carolyn Topper selecting our Divine Crow Award recipients. To the Director of Publications, Lisa Darling and her team, FICTION COMMITTEE Lynnette Pryor and Craig Simpson at the Office of College Committee Chair: Serena Bonarski Communication. Thank you for designing this incredible Sara McKinney book, which allows students to see their Jon Jerow names and works in print. Camille Wood David Vanderkloot To Brian Deitz and the Office of Student Involvement for their generous support of this magazine. Thank you for NONFICTION COMMITTEE seeing the value in The Cauldron. Committee Chair: Erin Bensinger Melissa Erikson To the Department of English at Kalamazoo College for their Cate Liska continued support of this special and essential publication. Lucy Merrill Jamie Misevich To Dianne and Robert Vibbert for their continued support of The Cauldron and for allowing us to honor their daughter with the Stephanie Vibbert Award.
    [Show full text]
  • Deadmau5 While 2 1
    Deadmau5 while 2 1 click here to download while(12) is the seventh studio album by the Canadian record producer and DJ deadmau5, released on 17 June by mau5trap and Astralwerks in the United States and Canada and by Virgin EMI Records internationally. It is his first and only studio album to be released by Virgin EMI and Astralwerks. Many of the ​Background · ​Singles · ​Critical reception · ​Track listing. Check out my music!: www.doorway.ru?list=PL_EIiYR9piz- 4PhboohKg8nsTCEWXWGhi Don't forget to tell the viewers your point of view on deadmau5 brand new album:D. 27/6/ Update: Mercedes and Pets are unmuted!! Original mix by deadmau5 - while(): Part 2 ( Joel Zimmerman – aka deadmau5 – has seen his fair share of strife and success in the two years since his last album release. From a tumultuous ended engagement with tattoo artist Kat Von D to a new record deal with Astralwerks, change has been the only constant for the globetrotting Canadian. Listen to songs from the album while(12), including "Avaritia", "Coelacanth I", "Ice Age (feat. deadmau5) [deadmau5 Remix]", and many more. Buy the album for $ Songs start at $ Free with Apple Music subscription. while(12). By deadmau5. • 27 songs. Play on Spotify. 1. Avaritia. 2. Coelacanth I. 3. Ice Age - deadmau5 Remix - How To Destroy Angels,. 4. My Pet Coelacanth. 5. Infra Turbo Pigcart Racer. 6. Terrors In My Head. 7. Creep. 8. Somewhere Up Here. For his seventh album, Deadmau5 has turned from an electro-house polymath into the world's most unnecessary Nine Inch Nails tribute act. With a running time longer than the new X-Men movie, the two-disc While(12) gives Mau5 plenty of room to spiral downward into many of Trent Reznor's favorite.
    [Show full text]
  • Jordanes Redeemed: a Reconsideration of the Purpose and Literary Merit of the Getica
    Jordanes Redeemed: A Reconsideration of the Purpose and Literary Merit of the Getica Master’s Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Brian Sidney Swain, B.A Graduate Program in History The Ohio State University 2009 Thesis Committee: Tim Gregory, Advisor Anthony Kaldellis Kristina Sessa Copyright by Brian Sidney Swain 2009 Abstract Jordanes, writing in mid-sixth century Constantinople, provides us with the only history of the Goths to survive from antiquity. Crucially, Jordanes wrote his history (known as the Getica and written in Latin) at a moment when Roman-Gothic relations had disintegrated into total war, as the emperor Justinian was engaged in the conquest of Gothic Italy. That Jordanes, a Roman/Byzantine citizen of Gothic descent, would write a history of a people with whom Rome was currently at war is clearly significant and had no precedent in Roman tradition. Yet despite this, there remains a paucity of scholarship which treats seriously Jordanes’ historiographical aims and literary merit. Moreover, most of what work there is on Jordanes has denounced his alleged derivative nature, stylistic decadence, and intellectual limitation. Some recent commentators have departed from such views, but ultimately grant Jordanes only limited concessions to authorial autonomy and literary ability. This paper seeks to push this rehabilitation further. A close reading of the Getica reveals both a marked level of authorial independence from its sources (contrary to what has been assumed before) and sophisticated literary craft at work. The latter is demonstrated by looking closely at two heretofore unappreciated allusions to the Aeneid seamlessly interwoven into the narrative of the Getica which work symbolically to incorporate the Goths into the fold of Roman history.
    [Show full text]
  • Deadmau5 W2016ALBUM ZIP LEAK Full Album
    deadmau5 W2016ALBUM ZIP LEAK Full Album- Download DOWNLOAD ALBUM: deadmau5 – here’s the drop! Track list: 01 imaginary friends (ov) [Morgan Page Remix] 02 luxuria (ov) [Tinlicker Remix] 03 coelacanth (ov) [Gregory Reveret Remix] 04 acedia (ov) [Rinzen Remix] 05 avaritia (ov) [Seismal D Remix] 06 monophobia (ov) [Sian Remix] 07 gula (ov) [Pig&Dan Remix] 08 invidia (ov) [No Mana Remix] 09 unjaded (ov) [Mad Zach Remix] 10 ira (ov) [Gallya Remix] 11 fn pig (ov) [Spencer Brown Remix] 12 hr 8938 cephei (ov) [Mr. Bill Remix] 13 superbia (ov) [Matt Lange Remix] 14 caritas (ov) [Dom Kane Remix] 15 strobe (ov) [PEEKABOO Remix] Deadmau5 W:/2016ALBUM/ ZIP LEAK Full Album- Download. Xfer Records is a label started by Deadmau5 and his longtime friend and studio accomplice Steve Duda for their collaborations, such as BSOD, and WTF? with Tommy Lee and DJ Aero. Their latest pack offering is not a music pack, but rather a sample pack for music producers, featuring a plethora of WAV loops and one-shots, ready to be loaded in to any popular music-making software. An extensive amount of gear was used for the pack-including circuit-bent and analogue drum machines, vintage analogue synths such as Moog and Arp, original acoustic drums and other sounds recorded in various professional studios. A variety of digital sound sources were used as well for creating new sounds, such as FFT synthesis, additive/subtractive synthesis, even custom DSP routines coded by Steve Duda in C++. "Despite the large amount of sample packs out there, we saw a niche for one geared towards building blocks of EDM with a twist - this one is royalty-free, so it can be used in original productions with no fear of legal repercussions from the original artists who often are sampled on other sample libraries", says Steve.
    [Show full text]
  • Writing Beyond Pen and Parchment Materiale Textkulturen
    Writing Beyond Pen and Parchment Materiale Textkulturen Schriftenreihe des Sonderforschungsbereichs 933 Herausgegeben von Ludger Lieb Wissenschaftlicher Beirat: Jan Christian Gertz, Markus Hilgert, Hanna Liss, Bernd Schneidmüller, Melanie Trede und Christian Witschel Band 30 Writing Beyond Pen and Parchment Inscribed Objects in Medieval European Literature Edited by Ricarda Wagner, Christine Neufeld, and Ludger Lieb ISBN 978-3-11-064543-9 e-ISBN (PDF) 978-3-11-064544-6 e-ISBN (EPUB) 978-3-11-064571-2 ISSN 2198-6932 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019946734 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Ricarda Wagner, Christine Neufeld, Ludger Lieb, published by Walter de Gruyter GmbH, Berlin/Boston This book is published in open access at www.degruyter.com. Typesetting: Sonderforschungsbereich 933 (Nicolai Schmitt) Cover image: Dante and Virgil before the inscribed gates of Hell. © The British Library Board (British Library, Egerton MS 943, f. 6v). Printing and binding: CPI books GmbH, Leck www.degruyter.com Acknowledgements The editors would like to thank the CRC 933 “Material Text Cultures”, financed by the German Research Foundation / Deutsche Forschungsgemeinschaft, for supporting this volume. The generous financial assistance of the CRC 933 enabled two collab- orators, Katja Schulz and Christine Neufeld, to spend several months at Heidelberg University as Mercator Fellows in 2015 and 2016.
    [Show full text]
  • Plymouth Rock
    “NOTHING SAVES P[LYMOUTH] BUT THE ROCK” As we plodded along, either by the edge of the ocean, where the sand was rapidly drinking up the last wave that wet it, or over the sand-hills of the bank, the mackerel fleet continued to pour round the Cape north of us, ten or fifteen miles distant, in countless numbers, schooner after schooner, till they made a city on the water. They were so thick that many appeared to be afoul of one another; now all standing on this tack, now on that. We saw how well the New-Englanders had followed up Captain John Smith’s suggestions with regard to the fisheries, made in 1616, — to what a pitch they had carried “this contemptible trade of fish,” as he significantly styles it, and were now equal to the Hollanders whose example he holds up for the English to emulate; notwithstanding that “in this faculty,” as he says, “the former are so naturalized, and of their vents so certainly acquainted, as there is no likelihood they will ever be paralleled, having two or three thousand busses, flat-bottoms, sword- pinks, todes, and such like, that breeds them sailors, mariners, soldiers, and merchants, never to be wrought out of that trade and fit for any other.” We thought that it would take all these names and more to describe the numerous craft which we saw. Even then, some years before our “renowned sires” with their “peerless dames” stepped on Plymouth Rock, he wrote, “Newfoundland doth yearly freight near eight hundred sail of ships with a silly, lean, skinny poor-john, and cor fish,” though all their supplies must be annually transported from Europe.
    [Show full text]