“Living in a Material World,” Contemplating the Immaterial One—Musings on What Sounds Can Actually Tell Us, or Not

I consider the effects of Henry VIII’s attempts to exert control over the intellectual activities of his articulate and argumentative subjects, whose free speculation he attempted radically to limit, while legitimising his own decisions by insisting that they were the result of discussion and the advice of others. I shall discuss the ways in which both Thomas More and John Fisher contrived to “converse” within a perilously maintained community of trust. I would also like briefly to consider the implications of an alternative Platonist stoicism that disputes, if not the reality, at least the significance of the material world.

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The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽

10.25159/1996-7330/2421 ◽

2018 ◽

Vol 10 ◽

Author(s):

Petru Adrian Danciu

Keyword(s):

Mutual Recognition ◽

The Other ◽

Human Being ◽

Material World ◽

Face To Face ◽

The People ◽

Musical History ◽

The Face ◽

The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

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Material World: Gender and the Bible in Evangelical Purity Culture

10.1093/oso/9780198722618.003.0034 ◽

2018 ◽

Author(s):

Sara Moslener

Keyword(s):

United States ◽

Young People ◽

Gender Roles ◽

The United States ◽

Modern Life ◽

Material World ◽

Avant Garde ◽

Teenage Girls ◽

Traditional Gender Roles ◽

The Bible

For evangelical adolescents living in the United States, the material world of commerce and sexuality is fraught with danger. Contemporary movements urge young people to embrace sexual purity and abstinence before marriage and eschew the secular pressures of modern life. And yet, the sacred text that is used to authorize these teachings betrays evangelicals’ long-standing ability to embrace the material world for spiritual purposes. Bibles marketed to teenage girls, including those produced by and for sexual purity campaigns, make use of prevailing trends in bible marketing. By packaging the message of sexual purity and traditional gender roles into a sleek modern day apparatus, American evangelicals present female sexual restraint as the avant-garde of contemporary, evangelical orthodoxy.

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Introduction

10.1093/oso/9780198802648.003.0001 ◽

2018 ◽

Author(s):

Stephanie Downes ◽

Sally Holloway ◽

Sarah Randles

Keyword(s):

Material World ◽

The Past ◽

Over Time

This book is about the ways in which humans have been bound affectively to the material world in and over time; how they have made, commissioned, and used objects to facilitate their emotional lives; how they felt about their things; and the ways certain things from the past continue to make people feel today. The temporal and geographical focus of ...

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Natural Phenomena and the Primacy of Experiment

10.1093/oso/9780198825623.003.0004 ◽

2018 ◽

Author(s):

Massimiliano Di Ventra

Keyword(s):

Objective Data ◽

Natural Phenomena ◽

Material World

This chapter defines what phenomena and objective data are and how the latter ones are obtained, and explains the fundamental role of experiments in obtaining information on the material world.

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The labour that dare not speak its name

10.1093/oso/9780199355914.003.0003 ◽

2017 ◽

Author(s):

Jason Toynbee

Keyword(s):

Social Structure ◽

Large Scale ◽

Division Of Labour ◽

Concrete Material ◽

Material World ◽

Music Making ◽

Causal Impact ◽

Musical Creativity ◽

Material Conditions

The is chapter argues that to understand the distributed nature of musical creativity we need to examine its connection to large-scale social structure and to capitalist relations of labour. These relations have a ‘downward’ causal impact on creative acts. Firstly, this is through the division of labour, which plays out in different ways across genres from classical to pop. Secondly, creative musical labour involves engagement with the concrete, material world. The distributed nature of creativity is determined not only by the drive to divide or consolidate music-making tasks but also depends on the nature of the musical materials to hand, and methods of dealing with them. Two methods are described in this chapter: translation and intensification. Each (sometimes they are combined) entails the making of relatively autonomous creative choices which are emergent from the structural and material conditions of musical labour.

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