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In this introduction to part 4 of the Common Knowledge symposium “Peace by Other Means,” the journal's editor assesses the argument made by Peace, the spokesperson of Erasmus in his Querela Pacis, that the desire to impute and avenge wrongs against oneself is insatiable and at the root of both individual and social enmities. He notes that, in a symposium about how to resolve and prevent enmity, most contributions have to date expressed caveats about how justice and truth must take (...) precedence over peace, how recovery from ill treatment may be impossible, how quietism is not a moral option, and how realism demands a national policy and a personal strategy of, at best, contingent forgiveness. He concedes that the attitudes of those opposed to quietism are healthy but suggests that there may be goods worthier than health of human devotion. This essay concludes that the main differences between what it terms “judgmental” and “irenic” regimes are disagreements over anthropology and metaphysics. The presumptions that truths are objectively knowable and that human beings are moral and rational agents characterize judgmental regimes; irenic regimes are characterized by disillusionment with those assumptions. (shrink)

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It is often argued that a shared culture, or at least shared cultural references or practices, can help to foster peace and prevent war. This essay examines in detail and criticizes one such argument, made by Patrick Leigh Fermor, in the context of his discussing an incident during World War II, when he and a captured German general found a form of agreement, a ground for peace between them, in their both knowing Horace's ode I.9 by heart in Latin. By (...) way of introducing the sixth and final installment of the Common Knowledge symposium “Peace by Other Means,” this essay proposes that Leigh Fermor's narrative be understood in terms of commerce, rather than consensus. It concludes by examining Ezra Pound's use of the word commerce in his poem “A Pact” to define his relationship with his “detested” and “pig-headed” poetic “father,” Walt Whitman. (shrink)

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This article responds to Jeffrey Perl's argument that, while there is a “paradigm shift” at Ise every twenty years, when the enshrined deity Amaterasu “shifts” from the current site to an adjacent one during the rite of shikinen sengū, the Jingū paradigm itself never changes and never ages. The author confirms Perl's conclusion by examining the politicized scholarship, written since the 1970s, maintaining that Shinto is a faux religion, invented prior to World War II as a means of unifying Japan (...) behind government policies of ultranationalism and international expansion. This article shows, instead, how emperors—who are not political but religious figures in Japan—and the Jingū priesthood have acted together over the past thirteen hundred years to sustain the imperial shrine at Ise and its ancient rites. The so-called Meiji Restoration actually continued an imperial policy of restoring and intensifying the observance of Shinto rituals that were threatened by neglect. Meiji intervened personally in 1889 to ensure the continuity of hikyoku, an unvoiced and secret serenade to Amaterasu, by extending its venue from the imperial palace shrine to performance at Jingū as well. The author's archival and ethnographic research at Ise and in the National Archives shows how the arguments that Shinto is a modern invention are punitive rather than dispassionately historical. (shrink)

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This contribution to the Common Knowledge symposium “Peace by Other Means” demonstrates how, even as religious strife is pervasive in India, classical Hindustani music has remained a transreligious and intercommunal medium. Indeed, music is one of the few domains in which Hindu-Muslim tension is absent: in North India it is common for audiences composed of both Hindus and Muslims to attend performances in which Hindu vocalists sing devotedly of Allah, and Muslim vocalists of Krishna. Hindustani musicians of whatever faith, it (...) is argued, worship Nada-Brahman, the Hindu “Sound-God.” Three kinds of religious tradition in India have nurtured the perception that sound is sacred: Hindu bhakti, Sufism, and Santism, all of which this essay explores in case studies both of the formative period of devotional music in North India and of the current state of the genre and its venues of performance. (shrink)

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This autobiographical, sociological, and musicological essay, written for a symposium on xenophilia, concerns how the love of a foreign culture can lead to a better understanding and renewed love of one’s own. The author, a Japanese musicologist, studied Hindustani music with North Indian masters, both Hindu and Muslim, and concluded that it is the shared concept of a “sound-god” that brings them together on stage in peaceful celebration with audiences from religious communities often at odds. The author’s training in ethnomusicology (...) began in India in 1992, immediately after the violent demolition of the Babri Masjid mosque in Ayodhya by militant Hindus, but even at that time she found no trace of such belligerence in the Hindustani musical world. Years later, while conducting research on the Shinto music rituals of her own culture, she discovered a little-known imperial and aristocratic cult of Myō’onten, a Japanese form of the Hindu goddess of music, Saraswati, who is presently an object of devotion for both Hindu and Muslim musicians in North India. This essay, based on nearly three decades of research in India and Japan, offers some answers to a question raised repeatedly in the Common Knowledge symposium on xenophilia: What is the source of the xenophilic impulse and the power that sustains it? (shrink)

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