Growing Up in the Shadow of Confederate MonumentsBynum, Caroline Walker
2021 Common Knowledge
doi: 10.1215/0961754x-8906103
Drawing on her memories of growing up in a racially segregated South, the author argues not so much for the removal and erasure of Confederate memorials as for mutilating them or retaining a version of their presence glossed with an explanation for their rejection. Connecting the southern anti-Semitism and anti-Black racism of her youth, she explains the parallels and differences between German efforts to come to terms with the Holocaust and American efforts, southern and northern, to move beyond and make reparation for both slavery and continuing twentieth- and twenty-first-century racism.
Jan van Eyck at London in 1428Richmond, Colin
2021 Common Knowledge
doi: 10.1215/0961754x-8906117
On the basis of reports that Jan van Eyck visited England (he was well traveled in the service of Philip the Good, duke of Burgundy), this essay speculates freely on what the diplomat and painter actually did in and around London for three weeks in 1428. The essay claims, for example, that van Eyck went to the village of Foots Cray to buy watercresses to use as models when painting greenery on the Ghent Altarpiece of the Mystic Lamb (which he completed in 1432). The recently erected gateway to the palace at Greenwich is said likewise to be the model for a towered gateway depicted on the altarpiece. After providing local detail about relevant parts of England in 1428, the essay closes with speculation (although the author writes, “The facts are known”) about the origin of a harp, of a purportedly Welsh variety, appearing on the altarpiece in the hands of an angel. The author argues that it was the instrument of an itinerant Breton musician whom van Eyck had heard in recital at the Poor Clares convent of the Holy Trinity at the Minories in Aldgate. The harpist subsequently murdered his Stepney landlady and was himself killed by enraged local housewives. Van Eyck is said to have purchased the man's harp when his worldly goods were posthumously sold.
Tokens of LovePart 2: John Donne and the Indeterminacy of PresenceMascetti, Yaakov A.
2021 Common Knowledge
doi: 10.1215/0961754x-8906131
In the second installment of this contribution to the Common Knowledge symposium “Contextualism—the Next Generation,” Donne's religious poetry is set in dialogue not only with the “Great Controversy” of the 1560s over the nature of the eucharistic sign but also with pre-Christian semiotic discourses. From the perspective of contextualist scholarship, which recognizes in any temporal context a limited number of discourses available, Donne's religious poems of the period from about 1607 to 1620 register many contradictory conceptions, but contradictory only in the sense that no contextualist map of religious identities allows for their miscibility or even collocation. Notoriously resistant to psychological and phenomenological interests, contextualism has no place for an early seventeenth-century Christian writer whose concern is less to join a school of thought on the Real Presence in the Eucharist than to dismiss the issue as vexingly trivial in comparison with the question of whether God thinks that each or any of us adequately loves him. For the questions that concern Donne, there are no determinate answers available, and no standard vocabulary. But the poet's alternating acquiescence in and fretfulness about indeterminacy and incomprehensibility constitute an intellectual and affective identity as much as does the attachment to any one or other more recognizable set of arguments and ways of framing them.
ProgressFrom Literature to HistoryChrostowska, S. D.
2021 Common Knowledge
doi: 10.1215/0961754x-8906159
This article begins from the assumption that what was once an integral dimension of progress—the development of literature and of art more generally—now lies outside its scope. The essay falls into three parts that juxtapose French with German intellectual history. The first part examines the notion of literary progress developed by Charles Perrault and Fontenelle, as well as the opposition to it by Boileau and other antiquarians, during the querelle des Anciens et des Modernes in the later seventeenth century. The second part treats the reception of those arguments during the eighteenth century by J. C. Gottsched, J. J. Bodmer, and J. J. Breitinger. Special attention is given to the paradox that Gottsched, the leader of the German antiquarians, and Bodmer, the leader of the German progressives, were equally devoted to the Leibnizian-Wolffian philosophical system and thus that German Romanticism, heavily indebted to Bodmer's poetics, had roots in rationalist philosophy. The essay's third part discusses ideas of literary progress in the writings of the early Romantics J. G. Herder and Friedrich Schlegel. As these discussions show, the conception of general progress was formed in a field that has since dissociated itself from progress's march.
Of Music, Morals, and SaladsThe Uses of Harmony in Imperial PragueHonisch, Erika Supria
2021 Common Knowledge
doi: 10.1215/0961754x-8906173
This article uses music and the discourse about music to understand the practice of tolerance in Prague during the period immediately preceding the outbreak of the Thirty Years’ War. Drawing on Las ensaladas (Prague, 1581), a collection of vernacular polyphony compiled by the Spanish composer Mateo Flecha the Younger, and Harmoniae morales (Prague, 1589–90), comprising musical settings of Latin texts by the Slovenian composer Jacobus Handl, the article argues that such music offered Prague's diverse citizens a medium for reflecting on how to live morally and peaceably. Ultimately, this article challenges the commonplace that musical harmony offered an effective model for social harmony, arguing that the practice of singing together exposed the limits of tolerance even as it illuminated how difference might be accommodated.