Entangled Voices: Genre and the Religious Construction of the Self

By Frederick J. Ruf | Go to book overview

Notes

Introduction
1.
William A. Graham, Beyond the Written Word: Oral Aspects of Scripture in the History of Religion ( Cambridge: Cambridge University Press, 1987), 32.
2.
Don Ihde, Listening and Voice ( Athens: Ohio University Press, 1976), 155.
3.
Graham, Beyond the Written Word, 58.
4.
A certain cultural predominance of the visual can lead us to think that sound is immaterial, but of course, it is not. A baby, for example, knows that sound is material, that sound is her parent, coming and going and being there, much more than the sight of the parent. The baby also hears himself long before he sees himself. From this point of view, then, seeing is the "cloth" of what is experienced in hearing. This forcefulness of sound certainly perseveres beyond infancy.
5.
Samuel Taylor Coleridge, Confessions of an Inquiring Spirit ( Stanford, Calif.: Stanford University Press, 1957), 51-52.
6.
Ihde, Listening and Voice, 173-74.
7.
Walter Ong also links the voice with sociality: "Sound unites groups of living beings as nothing else does" (122). His argument is that the voice is basically communicative, because of the interiority from which it comes and toward which it is directed: "Sound binds interiors to one another as interiors." See Walter Ong, The Presence of the Word: Some Prolegomena for Cultural and Religious History ( Minneapolis: University of Minnesota Press, 1967), 124-25.
8.
See "The Continuity of Experience" in William James, A Pluralistic Universe, in The Works of William James, ed. Frederick H. Burkhardt, FredsonBowers

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