Peter J. Leithart

Eugene Peterson writes that the Sabbath “erects a weekly bastion against the commodification of time, against reducing time to money, reducing time to what we can get out of it, against leaving no time for God or beauty or anything that cannot be used or purchased. It is a defense against the . . . . Continue Reading »

In an essay on M. H. Abrams’s Natural Supernaturalism , Wayne Booth praises the style of the book, but more: “I must emphasize that I am not simply praising Abrams’ style. i am making what I take to be a much more risky claim: that a style that is good in the way Abrams’ . . . . Continue Reading »

Gracia argues: “Consider a text of a message sent by a particular historical figure to another, and which is being examined by a historian. The historian wishes to determine exactly what the person who sent the message meant, and what the person who received the message understood by it, so . . . . Continue Reading »

Gracia nicely illustrates how meaning can go beyond authorial intention with a reference to games: “one of the plays makes a move the significance of which he does not quite grasp. For the player is the author of the move, and wins or loses accordingly, by virtue of the fact that he is a . . . . Continue Reading »

Finally getting around to Jorge Gracia’s Theory of Textuality . It’s got a lot of strengths. Gracia recognizes the strengths and weaknesses of various theories of textual meaning, and sensibly tests theories by their ability to explain our actual experience of texts. Postmodern . . . . Continue Reading »

Considering the plural pronoun at the beginning of the Lord’s Prayer, Chrysostom says that it announces a moral and social revolution: “by this He at once takes away hatred, and quells pride, and casts out envy, and brings in the mother of all good things, even charity, and exterminates . . . . Continue Reading »

Athenagoras condemns worship of the creation using a musical analogy ( A Plea for Christians ): “If therefore the world is an instrument in tune, and moving in well-measured time, I adore the Being who gave its harmony, and strikes its notes, and sings the accordant strain, and not the . . . . Continue Reading »

Gregory of Nyssa explains in On the Making of Man that the human body is like a musical instrument, designed for reason. This is itself a striking image, but Nyssa expounds on the analogy by looking at the specific contours of the human body. The passage reminds me of Leon Kass’s discussion . . . . Continue Reading »

Clement of Alexandria begins his Exhortation to the Heathen by reviewing various myths about music, and then introduces the gospel as God’s new song. By the time he’s done, he’s told the history of the world musically: “Behold the might of the new song! It has made men out . . . . Continue Reading »

In his study of children’s literature ( Stars, Tigers, and the Shape of Words ), JH Prynne mounts a critique of Saussure designed to show that “the methodology of practical literary criticism habitually contradicts Saussure’s theory of language by assuming that acoustic or graphic . . . . Continue Reading »