By Robert F. Berkhofer Jr.
What makes a narrative, stable? Is there this type of factor as a "true tale" (cf. Lucian)? What a few tale approximately genuine problems--problems that underlie the discursive models of the day? What makes a narrative fairly great--not simply in scope, yet in depths? Berkhofer's quantity ignores those and akin questions. He prefers to roll again into modern "discourse" or groundless (!) speak, as though there have been not anything extra pressing and important--nay, meaningful--for students (including historians) to debate than the outside of actually empty talk--a speak that, without doubt, is of significant curiosity to many, arguably accurately as a result of its emptiness--of its superficiality, its mildly refined utter loss of depths.
It is valid to suspect that the writer hasn't ever studied (read: taken heavily) any reasoned-out publication written sooner than the fashionable beginning of "Ideology," i.e. the trendy "politicization" of philosophy. No critical concept is given to the prospect that truth isn't exhausted through old (material) appearances. What ancient/classical assets could regard as key to any stable history--namely a prepared figuring out of the permanent/central difficulties of political existence, wearing with it a potential to make superficial concessions to the style or spirit of the times--disappears within the "beyond" welcomed by means of our writer, a "beyond" packed with potential probably waiting for existential Nothingness as their unquestioned, tyrannical finish.
The challenge we're all confronted with--in Berkhofer's company--is that of ends. Berkhofer turns out to imagine that the easiest severe stance rests upon a prejudice opposed to all ends: all ends needs to be groundless (i.e. there is not any finish via nature--hence the "Cartesian" feel of sure bet that suggests has to be attended to sooner than and independently of ends). Socratic or zEtetic inquiry (openness to truth/reality as a usual finish) is overlooked in desire of a significantly extra stylish discussion open to nowhere. the last word "Great tale" past all not-so-great tales is NIHILISM. the cost to be paid for lack of real greatness (think of Thucydides, for example) is dire.
One reviewer defends Berkhofer's quantity via invoking "the velocity of erudition," which reads as a codeword for "Progress". purple lighting flash for "Grand Narrative" (or "Great Stories").
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Additional info for Beyond the Great Story: History as Text and Discourse
White, The Cambridge Movement: The Ecclesiologist and the Gothic Revival (Cambridge: Cambridge University Press, 1962), 20; Adelmann, Cambridge Ecclesiologists, xii. Philip Barrett has argued that the Tractarians were an important impetus to the Choral Revival, but all the examples cited refer only to Gregorian chant (‘The Tractarians and Church Music’ , Musical Times 113 (1972): 301–2, 398–9). 110 Temperley, ‘Cathedral Music’ , 173. 111 For a list of the volumes published, see Turbet, ‘Musical Antiquarian Society’ , 17–18.
Krummel, ‘Music Publishing’ , in Temperley, Romantic Age, 49. The number of music copyrights increased roughly tenfold between 1835 and 1845. 118 John Jebb, Three Lectures on the Cathedral Service of the Church of England, 2nd ed. N. Green, 1845), 137–8. 38 thomas tallis and his music in victorian england The Service of the celebrated Tallis is the earliest of those which have been published, or practically known in our Choirs. Those persons must have peculiar ideas indeed as to the requirements of solemn devotional music, who can object to the Service of this admirable composer.
97 Given this general neglect, it is not surprising that there is little evidence of interest in Tallis or his music in the early years of the nineteenth century. Around the turn of the century the Heather Professor of Oxford, William Crotch, had set Tallis’s epitaph to music, and published a Latin edition of Tallis’s Litany together with a setting of the Veni Creator Spiritus spuriously attributed to Tallis:98 these will all be discussed further below. 99 The only other publications of Tallis’s music from between 1800 and 1840 held by the British Library are two piano arrangements of the ‘Evening Hymn’.