Download Beyond the Great Story: History as Text and Discourse by Robert F. Berkhofer Jr. PDF

By Robert F. Berkhofer Jr.

What makes a narrative, reliable? 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 in simple terms 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 due to its emptiness--of its superficiality, its mildly subtle utter loss of depths.

It is valid to suspect that the writer hasn't ever studied (read: taken heavily) any reasoned-out ebook written earlier than the fashionable start of "Ideology," i.e. the fashionable "politicization" of philosophy. No critical notion is given to the chance that truth isn't really exhausted via old (material) appearances. What ancient/classical assets might regard as key to any stable history--namely a prepared realizing of the permanent/central difficulties of political lifestyles, sporting with it a ability to make superficial concessions to the style or spirit of the times--disappears within the "beyond" welcomed via our writer, a "beyond" choked with skill possible looking ahead to 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 serious 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" experience of simple task that implies needs to be attended to prior to and independently of ends). Socratic or zEtetic inquiry (openness to truth/reality as a traditional finish) is missed in desire of a significantly extra trendy 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 actual greatness (think of Thucydides, for example) is dire.

One reviewer defends Berkhofer's quantity by means of invoking "the speed of erudition," which reads as a codeword for "Progress". crimson lighting fixtures flash for "Grand Narrative" (or "Great Stories").

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Conarroe explains, The vitality, grave comedy, and outright buffoonery of many songs vitiate against an uncritical acceptance of the nightmares they contain. Like those Romantic odes on dejection that by their existence give a lie to the assertion that the sufferer is rendered incapable of creation, many of these songs, in their wit and high spirits, ward off the horror that is their source. 85 Henry’s language informs the message. By mixing high and low words, common expressions, and poetic phrases, and by novel formulations of syntax and pronominal antecedence, Henry orders his world to attention and often to clarity.

Michael Sprinker notes, “Hopkins’s stylistic achievement is a reorientation of the patterns of energy in the English poetic line that causes meaning to burst forth, explode, from concentration of rhythmic and lexical power in a single syllable, an 101 Paul Mariani, “The Consoling, Terrifying Presence of Hopkins,” Renascence (Fall 1989/Winter 1990), 15. 102 Dream Songs, 399. 103 J. Hillis Miller, The Linguistic Moment: From Wordsworth to Stevens, Princeton, 1985, 252. 104 Quoted in Further Letters of Gerard Manley Hopkins, including His Correspondence with Coventry Patmore, ed.

His pride is in check as he admits that he has studied the “Word” but does not “understand” God’s plan. Paradoxically, he does presume the existence of a plan and feels doubt in such an assumption. ”111 In the sonnet “Thou art indeed just, Lord,” Hopkins also questions God’s ways, at least his worldly perception of them. He 106 Michael Sprinker, “A Counterpoint to Dissonance”: The Aesthetics and Poetry of Gerard Manley Hopkins, Baltimore, 1980, 114. 107 Dream Songs, 9. , 366. , 140. 110 Gerard Manley Hopkins, 144.

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