By Robert F. Berkhofer Jr.
What makes a narrative, stable? Is there the sort of factor as a "true tale" (cf. Lucian)? What a few tale approximately actual problems--problems that underlie the discursive models of the day? What makes a narrative quite great--not in basic 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 serious 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 trendy delivery of "Ideology," i.e. the trendy "politicization" of philosophy. No severe concept is given to the prospect that fact isn't exhausted through historic (material) appearances. What ancient/classical assets could regard as key to any strong history--namely a prepared figuring out 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 by means of our writer, a "beyond" jam-packed with capacity likely looking ahead to existential Nothingness as their unquestioned, tyrannical finish.
ON METHODOLOGY:
The challenge we're all confronted with--in Berkhofer's company--is that of ends. Berkhofer turns out to imagine that the simplest severe stance rests upon a prejudice opposed to all ends: all ends needs to be groundless (i.e. there is not any finish through nature--hence the "Cartesian" feel of walk in the park that implies needs to be attended to ahead of and independently of ends). Socratic or zEtetic inquiry (openness to truth/reality as a typical finish) is missed 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 fee to be paid for lack of actual greatness (think of Thucydides, for example) is dire.
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One reviewer defends Berkhofer's quantity by way of invoking "the speed of erudition," which reads as a codeword for "Progress". purple lighting fixtures flash for "Grand Narrative" (or "Great Stories").
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The SNCC Freedom Singers: Ambassadors for Justice • 41 Carawan, Guy, and Candie Carawan. 2007. Sing for Freedom: The Story of the Southern Civil Rights Movement through Its Songs. Montgomery: New South Books. Carson, Clayborne. ” Journal of Southwest Georgia History 2: 18. ” 1996. New York Times, November 19, D25. Curry, Constance, Joan C. Browning, Dorothy Dawson Burlage, Penny Patch, Theresa Del Pozzo, Sue Thrasher, Elaine DeLott Baker, Emmie Schrader Adams, and Casey Hayden. 2002. Deep in Our Hearts: Nine White Women in the Freedom Movement.
Hatfield, Edward A. 2007. ” New Georgia Encyclopedia. http://www. org/articles/history-archaeology/freedom-singers. Holt, Len. d. Letter to Jim Forman. SNCC Records. King Center for Nonviolent Social Change, Atlanta, GA. Lester, Julius. 1964. ” Broadside, February 7: 9. Ling, Peter J. 1997. ” History Workshop Journal 44: 198–213. Lyon, Danny. 1991. Memories of the Southern Civil Rights Movement. Chapel Hill: University of North Carolina Press. Mason, Kim. 2007. ” Bowling Green Daily News, July 9.
So we missed the states of Washington and Oregon; those were the only two we missed. We sang at people’s houses, on their lawns, inside their homes—anywhere people would gather to set up a program, we would sing and raise funds, and tell the story. (Harris 2009) Travel expenses and “hospitality” were covered by the hosts, which included church, college, and civic groups. On that initial tour, the Freedom Singers performed alongside folk music stars Bob Dylan, Joan Baez, and Peter Paul and Mary, as well as tour sponsor Pete Seeger.