HISTORICISM . . . NOTES

¹This broad view of historicism seems etymologically justified in virtue of the term's cognate relationship to "history," a word whose Greek root, as noted in the Oxford English Dictionary, means "a learning or knowing by inquiry, an account of one's inquiries, narrative, history."

²H. W. Janson, History of Art, 2d ed. (New York: Harry N. Abrams, 1980), 14-16.

³Stanley Kubrick, Stanley Kubrick's Barry Lyndon, produced by Bernard Williams and directed by Stanley Kubrick, 185 min., Warner Brothers, 1975, videocassette. According to the slipcase notes, the actors "were garbed not in costumes but in genuine antique clothing."

⁴Prefacing the work with "A Note on the Historical Accuracy of This Play," Miller states that his drama is "not history in the sense in which the word is used by the academic historian," but rather an expression of "the essential nature of one of the strangest and most awful chapters in human history."

⁵See Eric Salzman's liner notes to the recording of the work by the Lamoreux Concerts Orchestra under the baton of Günter Wand, Nonesuch stereo recording H-71192. According to Salzman, the beginning of the concerto "is a straight lift from the [Bach] Third Brandenburg. Stravinsky has said, 'I do not think Bach would have begrudged me the loan of these ideas and materials, as borrowing in this way was something he liked to do himself.'" Salzman feels that Dumbarton Oaks--the eponymous Washington, D.C. estate of Stravinsky's patrons Mr. and Mrs. Robert Woods Bliss--"has, amid its campy stylized-modern 18th-century scenery, a kind of forthrightness and honesty that is far more than mere baroque decoration or declamation."

⁶Francis Bacon, "Of Vicissitude of Things," in The Essayes or Counsels Civill and Morall, with an introduction by Christopher Morley (Norwalk: The Easton Press, 1980), 188.

⁷Paul Halpern, Time Journeys[:] A Search for Cosmic Destiny and Meaning (New York: McGraw-Hill, 1990), 49.

⁸Ibid., 49-50. See also Jeremy Rifkin, Entropy--A New World View (New York: Bantam Books, 1980).

⁹Marvin Trachtenberg and Isabelle Hyman, Architecture from Prehistory to Post-modernism/The Western Tradition (New York: Harry N. Abrams, 1986), 389.

¹⁰Calvin Tompkins, The Bride and the Bachelors[:] Five Masters of the Avant Garde, (Viking Press: 1965; reprint, New York: Penguin Books, 1968), 13.

¹¹Ibid., 18.

¹²Ibid., 29.

¹³Ibid., 66.

¹⁴See Leon Krier, "Atlantis, Tenerife" Architectural Design Profile 71 (1988): 56-64. See also Demetri Porphyrios's critique on p. 65.

¹⁵Peter Plagens and Kay Itoi, "The Great Impersonator," Newsweek, 6 April 1992, 62-63.

¹⁶Morimura's Portrait (Nine Faces) is in the Collection Bernardo Nadal-Ginard and Vijak Mahdavi. At the time of writing, Beal's Hope, Faith, Charity was located at the Frumkin Adams Gallery.

¹⁷Demetri Porphyrios, "Imitation and Convention in Architecture," Architectural Design Profile 71 (1988): 20.

¹⁸Ibid., 20-21.

¹⁹William M. Ivins, Jr., "Some Disconnected Notes about Drawing," Harper's Magazine (December, 1949): 84-85. Ivins, in turn, appears to have been influenced by Sir Isaac Newton's famous remark: "If I have seen farther than others, it is because I have stood on the shoulders of giants."

²⁰The Oxford Companion to English Literature, 5th ed., s.v. "Pound."

²¹A Glossary of Literary Terms, 5th ed., s. v. "Celtic Revival," by M. H. Abrams.

²²Michael Talbot, The Holographic Universe (New York: HarperPerennial, 1991), 203.

²³Oxford Companion, s.v. "Yeats."

²⁴Benét's Reader's Encyclopedia, 3d. ed., s.v. "Bergson, Henri," "Proust, Marcel," and "Remembrance of Things Past."

²⁵Oxford Companion, s.v. "A la recherche du temps perdu."

²⁶See Jorge Luis Borges, Labyrinths[:] Selected Stories and Other Writings, ed. Donald A. Yates and James E. Irby, with a preface by André Maurois (New York: New Directions, 1964), x-xi, and "A New Refutation of Time," 231. Dunne, a pioneer aircraft designer, authored the popular books An Experiment with Time (1927) and The Serial Universe (1934), supporting his belief that duration was a dimension of space by quoting Wells's The Time Machine. Although Wells felt Dunne had taken Wells's fictional account of time travel too seriously, Dunne's work would have a significant impact on the "Time" plays of J. B. Priestley. See The Oxford Companion to English Literature, s.v. "Dunne," "Priestley," and "Wells."

²⁷Borges, "Deutsches Requiem," 147.

²⁸Ibid., "Three Versions of Judas," 98.

²⁹Ibid., "The Immortal," 115.

³⁰Ibid., "The Theologians," 119.

³¹Ibid.

³²Ibid., "Deutsches Requiem," 141.

³³Ibid., "A New Refutation of Time," 231.

³⁴Ibid., 226-27.

³⁵Ibid., 233.

³⁶Ibid., "The Mirror of Enigmas," 210.

³⁷Ibid., "The Garden of Forking Paths," 28.

³⁸Ibid., "A New Refutation of Time," 232.

³⁹Ibid., "The Theologians," 126.

⁴⁰Ibid., xix.

⁴¹Ibid., "The Fearful Sphere of Pascal," 192.

⁴²Ibid., "A New Refutation of Time," 224.

⁴³Ibid., xi-xii.

⁴⁴Glossary, s.v. "Influence and the Anxiety of Influence," 212-14.

⁴⁵Borges, xxi.

⁴⁶Ibid., "Averroes' Search," 154.

⁴⁷Ibid., "The Argentine Writer and Tradition," 180-81.

⁴⁸Glossary, s.v. "Convention."

⁴⁹Ibid.

⁵⁰Ibid., s.v. "Archaism."

⁵¹Ibid., s.v. "Neoclassic and Romantic."

⁵²Igor Stravinsky and Robert Craft, Expositions and Developments (New York: Doubleday, 1962), 128-29. See also Ian D. Bent's liner notes to the recording of the work by L'Orchestre de la Suisse Romande under the baton of Ernest Ansermet, London STS 15218.

⁵³David Cope, New Directions in Music , 4th ed. (Dubuque: William C. Brown, 1984), 337.

⁵⁴Tompkins, 100.

⁵⁵According to the Concise Columbia Encyclopedia, entropy is defined as the "quantity specifying the amount of disorder or randomness in a system bearing energy or information." In information theory, for example, entropy signifies the "'noise,' or random errors, occurring in the transmission of signals or messages."

⁵⁶Halpern, 38-39.

⁵⁷Tompkins, 91, 102.

⁵⁸Ibid., 85.

⁵⁹Ibid., 144.

⁶⁰John Cage, Silence (Middletown: Wesleyan, 1976), xi, and Tompkins, 99-100, 106. Cage was once an ardent follower of D. T. Suzuki.

⁶¹Ibid., 91.

⁶²Ibid., 109.

⁶³Ibid., 90. See also The New Oxford Companion to Music, s.v. "Piano," sec. 12.

⁶⁴Tompkins, 74, 90, 103.

⁶⁵Ibid., 90.

⁶⁶Ibid., 73-74.

⁶⁷Ibid., 136-37. According to p. 22 of a recent translation of the I Ching by Kerson Huang, a professor of particle physics at MIT (New York: Workman Publishing, 1987), the "two major schools of thought, the Taoist and the Confucian, both longed to bring the world back to an ancient 'Golden Era.'"

⁶⁸See Cage, 276, and Tompkins, 122-23. The difficulty appears to be that in one's zeal to disabuse oneself of prejudice, one becomes prejudiced against prejudice. Instead of setting aside the "me" that gives rise to such illusions, that "me" is unwittingly sustained by a censor posing as a "higher intelligence."

⁶⁹Anton Webern, The Path to the New Music, ed. Willi Reich, trans. Leo Black (New Jersey: Universal Edition Publishing, 1975), 11-15.

⁷⁰Fred Alan Wolf, Parallel Universes[:] The Search for Other Worlds (New York: Simon and Schuster, 1990), 105.

⁷¹Stephen Hawking, A Brief History of Time, with an introduction by Carl Sagan (New York: Bantam Books, 1988), 33.

⁷²Fritjof Capra, The Tao of Physics, 3d ed., updated (Boston: Shambhala, 1991), 178.

⁷³Halpern, 55, 60.

⁷⁴Capra, 198.

⁷⁵Halpern, 4-5.

⁷⁶Ibid., 6-7.

⁷⁷Bacon, 183. See also Ecclesiastes I:4-11 and III:15. The Biblical text in question is no longer generally believed to be the work of Solomon.

⁷⁸Halpern, 33.

⁷⁹Ibid., 29-31.

⁸⁰Jeremy Rifkin, Time Wars[:] The Primary Conflict in Human History (New York: Simon and Schuster, 1989), 121.

⁸¹In a long quotation from Nietszche's work prefaced to Richard Strauss's score, Zarathustra, addressing the sun at dawn, expresses his intention to become a human being again. "The Blue Danube" is a waltz, a term derived from the German wälzen, meaning "to turn," "to roll," "to rotate," or "to revolve."

⁸²Capra, 198.

⁸³Ibid., 179.

⁸⁴Ibid., 186.

⁸⁵Rudy Rucker, The Fourth Dimension: A Guided Tour of the Higher Universes (Boston: Houghton Mifflin, 1984), 136.

⁸⁶Ibid., 145.

⁸⁷Wolf, 205.

⁸⁸Halpern, 130-31.

⁸⁹Ibid., 41.

⁹⁰Capra, 185.

⁹¹Hawking, 134, 143-44.

⁹²Ibid., 139.

⁹³Ibid., 89.

⁹⁴Halpern, 47.

⁹⁵The Illustrated Dictionary of Greek and Roman Mythology, s.v. "Janus," by Michael Stapleton.

⁹⁶Talbot, 202.

⁹⁷Rupert Sheldrake, The Presence of the Past[:] Morphic Resonance and the Habits of Nature (New York: Vintage Books, 1989), 304.

⁹⁸Ibid., xviii.

⁹⁹Ibid., xix.

¹⁰⁰Ibid., 317.

¹⁰¹Ibid., 306.

¹⁰²Ibid., 305-306.

¹⁰³Ibid., 264-65.

¹⁰⁴Ibid., 319, 321-22.

¹⁰⁵Ibid., 308.

¹⁰⁶Talbot, 52.

¹⁰⁷Ibid., 61.

¹⁰⁸The recording in question, PHS 900-256, features Ms. Brown and pianist Peter Katin performing music dictated to her by Beethoven, Liszt, Chopin, Schubert, Schumann, Brahms, Grieg, and Debussy. Her biographical sketch appears in the widely available 6th ed. of The New Grove Dictionary of Music and Musicians, s.v. "Brown, Rosemary."

¹⁰⁹Talbot, 200-201.

¹¹⁰Sigmund Freud, The Interpretation of Dreams [vols. 4-5, Standard Edition] (London: The Hogarth Press and the Institute of Psycho-Analysis, 1953; reprint, New York: Avon Books, 1972), 92-93, 588.

¹¹¹Talbot, 68.

¹¹²See Halpern, 107, and J. T. Fraser, ed., The Voices of Time (New York: Braziller, 1966).

¹¹³Talbot, 200. Schwartz has written a history of psychic archaeology entitled The Secret Vaults of Time.

¹¹⁴Wolf., 221.

¹¹⁵Ibid., 310.

¹¹⁶Talbot, 158.

¹¹⁷Capra, 169; Hawking, 28.

¹¹⁸Rucker, 151-52.

¹¹⁹Ibid., 153.

¹²⁰Quoted in Rucker, 152.

¹²¹Ibid., 214.

¹²²Talbot, 191. See also Richard M. Restak, "Is Free Will A Fraud?" Science Digest (October 1983), 52.

¹²³Ralph Waldo Emerson, "Quotation and Originality," in The Portable Emerson, ed. and with an introduction by Mark Van Doren (New York: The Viking Press, 1965), 285-86.

¹²⁴Ibid., 295.

¹²⁵Ibid., 286.

¹²⁶Ibid., 288.

¹²⁷Ibid., 294.

¹²⁸Ibid., 300.

¹²⁹Ibid.

¹³⁰Ibid., 294.

¹³¹Ibid., 297.

¹³²Ibid., 302.

¹³³Ibid., 299.

¹³⁴Ibid., 301.

¹³⁵Janson, 13-17.

¹³⁶William J. Cromie, "A Question of Creativity," Harvard Alumni Gazette (February, 1990): 15-16.

¹³⁷Ibid., 15.

¹³⁸Standardized tests such as the SAT, CLAST, and GRE have been erroneously used by college and university admissions committees and academic employers to "weed out" candidates in fields such as the fine arts and music where creativity--not linguistic and logical-mathematical skills--are clearly of paramount importance. It is impossible to say how widespread this unfortunate practice is as institutions do not usually volunteer specific information about how test scores are weighted in comparison to their applicants' other qualifications. Suffice it to say that if Beethoven were physically alive today and had learned to speak passably intelligible English, there is still a good chance that he would be excluded from graduate study at many prestigious universities or that he would be denied continuing employment as a public school teacher because of limited verbal and mathematical ability, as indicated by standardized tests.

¹³⁹Cromie, 15-16.