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Theory of forms
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"The Forms" redirects here. For the band, see The Forms (band).
The theory of Forms or theory of Ideas[1][2][3] is Plato's argument that non-physical (but substantial) forms (or ideas) represent the most accurate reality.[4] When used in this sense, the word form or idea is often capitalized.[5] Plato speaks of these entities only through the characters (primarily Socrates) of his dialogues who sometimes suggest that these Forms are the only objects of study that can provide knowledge; thus even apart from the very controversial status of the theory, Plato's own views are much in doubt.[6] However, the theory is considered a classical solution to the problem of universals.
The early Greek concept of form precedes attested philosophical usage and is represented by a number of words mainly having to do with vision, sight, and appearance. The words, εἶδος (eidos) and ἰδέα (idea) come from the Indo-European root *weid-, "see".[7] Eidos (though not idea) is already attested in texts of the Homeric era, the earliest Greek literature. This transliteration and the translation tradition of German and Latin lead to the expression "theory of Ideas." The word is however not the English "idea," which is a mental concept only.
Contents
[hide]
1 Forms
1.1 Terminology
1.2 Intelligible realm and separation of the Forms
1.3 Ideal state
2 Evidence of Forms
2.1 Human perception
2.2 Perfection
3 Criticisms of Platonic Forms
3.1 Self-criticism
3.2 Aristotelian criticism
4 Dialogues that discuss Forms
5 See also
6 Notes
7 Bibliography
8 External links
Forms[edit]
The meaning of the term εἶδος (eidos), "visible form", and related terms μορφή (morphē), "shape",[8] and φαινόμενα (phainomena), "appearances", from φαίνω (phainō), "shine", Indo-European *bhā-,[9] remained stable over the centuries until the beginning of philosophy, when they became equivocal, acquiring additional specialized philosophic meanings. The pre-Socratic philosophers, starting with Thales, noted that appearances change, and began to ask what the thing that changes "really" is. The answer was substance, which stands under the changes and is the actually existing thing being seen. The status of appearances now came into question. What is the form really and how is that related to substance?
Thus, the theory of matter and form (today's hylomorphism) was born. Starting with at least Plato and possibly germinal in some of the presocratics the forms were considered as being "in" something else, which Plato called nature (physis). The latter seemed as carved "wood",[10] ὕλη (hyle) in Greek, corresponding to materia in Latin, from which the English word "matter" is derived,[11] shaped by receiving (or exchanging) forms.
The Forms are expounded upon in Plato's dialogues and general speech, in that every object or quality in reality has a form: dogs, human beings, mountains, colors, courage, love, and goodness. Form answers the question, "What is that?" Plato was going a step further and asking what Form itself is. He supposed that the object was essentially or "really" the Form and that the phenomena were mere shadows mimicking the Form; that is, momentary portrayals of the Form under different circumstances. The problem of universals – how can one thing in general be many things in particular – was solved by presuming that Form was a distinct singular thing but caused plural representations of itself in particular objects. For example, Parmenides states, "Nor, again, if a person were to show that all is one by partaking of one, and at the same time many by partaking of many, would that be very astonishing. But if he were to show me that the absolute one was many, or the absolute many one, I should be truly amazed."[12]:p129 Matter is considered particular in itself. For Plato, forms, such as beauty, are more real than any objects that imitate them. Though the forms are timeless and unchanging, physical things are in a constant change of existence. Where forms are unqualified perfection, physical things are qualified and conditioned.[13]
These Forms are the essences of various objects: they are that without which a thing would not be the kind of thing it is. For example, there are countless tables in the world but the Form of tableness is at the core; it is the essence of all of them.[14] Plato's Socrates held that the world of Forms is transcendent to our own world (the world of substances) and also is the essential basis of reality. Super-ordinate to matter, Forms are the most pure of all things. Furthermore, he believed that true knowledge/intelligence is the ability to grasp the world of Forms with one's mind.[15]
A Form is aspatial (transcendent to space) and atemporal (transcendent to time). Atemporal means that it does not exist within any time period, rather it provides the formal basis for time. It therefore formally grounds beginning, persisting and ending. It is neither eternal in the sense of existing forever, nor mortal, of limited duration. It exists transcendent to time altogether.[16] Forms are aspatial in that they have no spatial dimensions, and thus no orientation in space, nor do they even (like the point) have a location.[17] They are non-physical, but they are not in the mind. Forms are extra-mental (i.e. real in the strictest sense of the word).[18]
A Form is an objective "blueprint" of perfection.[19] The Forms are perfect themselves because they are unchanging. For example, say we have a triangle drawn on a blackboard. A triangle is a polygon with 3 sides. The triangle as it is on the blackboard is far from perfect. However, it is only the intelligibility of the Form "triangle" that allows us to know the drawing on the chalkboard is a triangle, and the Form "triangle" is perfect and unchanging. It is exactly the same whenever anyone chooses to consider it; however, the time is that of the observer and not of the triangle.
Terminology[edit]
In the Allegory of the Cave, the objects that are seen are not real, according to Plato, but literally mimic the real Forms.
The English word "form" may be used to translate two distinct concepts that concerned Plato—the outward "form" or appearance of something, and "Form" in a new, technical nature, that never
...assumes a form like that of any of the things which enter into her; ... But the forms which enter into and go out of her are the likenesses of real existences modelled after their patterns in a wonderful and inexplicable manner....
The objects that are seen, according to Plato, are not real, but literally mimic the real Forms. In the Allegory of the Cave expressed in Republic, the things that are ordinarily perceived in the world are characterized as shadows of the real things, which are not perceived directly. That which the observer understands when he views the world mimics the archetypes of the many types and properties (that is, of universals) of things observed.
Intelligible realm and separation of the Forms[edit]
Plato often invokes, particularly in his dialogues Phaedo, Republic and Phaedrus, poetic language to illustrate the mode in which the Forms are said to exist. Near the end of the Phaedo, for example, Plato describes the world of Forms as a pristine region of the physical universe located above the surface of the Earth (Phd. 109a-111c). In the Phaedrus the Forms are in a "place beyond heaven" (huperouranios topos) (Phdr. 247c ff); and in the Republic the sensible world is contrasted with the intelligible realm (noēton topon) in the famous Allegory of the Cave.
It would be a mistake to take Plato's imagery as positing the intelligible world as a literal physical space apart from this one.[20][21] Plato emphasizes that the Forms are not beings that extend in space (or time), but subsist apart from any physical space whatsoever.[22] Thus we read in the Symposium of the Form of Beauty: "It is not anywhere in another thing, as in an animal, or in earth, or in heaven, or in anything else, but itself by itself with itself," (211b). And in the Timaeus Plato writes: "Since these things are so, we must agree that that which keeps its own form unchangingly, which has not been brought into being and is not destroyed, which neither receives into itself anything else from anywhere else, nor itself enters into anything anywhere, is one thing," (52a, emphasis added).
Ideal state[edit]
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According to Plato, Socrates postulated a world of ideal Forms, which he admitted were impossible to know. Nevertheless, he formulated a very specific description of that world, which did not match his metaphysical principles. Corresponding to the world of Forms is our world, that of the shadows, an imitation of the real one [23] Just as shadows exist only because of the light of a fire, our world exists as, "the offspring of the good".[24] Our world is modeled after the patterns of the Forms. The function of humans in our world is therefore to imitate the ideal world as much as possible which, importantly, includes imitating the good, i.e. acting morally.
Plato lays out much of this theory in the "Republic" where, in an attempt to define Justice, he considers many topics including the constitution of the ideal state. While this state, and the Forms, do not exist on earth, because their imitations do, Plato says we are able to form certain well-founded opinions about them, through a theory called recollection.[25]
The republic is a greater imitation of Justice:[26]
Our aim in founding the state was not the disproportional happiness of any one class,[27] but the greatest happiness of the whole; we thought that in a state ordered with a view to the good of the whole we should be most likely to find justice.
The key to not know how such a state might come into existence is the word "founding" (oikidzomen), which is used of colonization.[clarification needed] It was customary in such instances to receive a constitution from an elected or appointed lawgiver; however in Athens, lawgivers were appointed to reform the constitution from time to time (for example, Draco, Solon). In speaking of reform, Socrates uses the word "purge" (diakathairountes)[28] in the same sense that Forms exist purged of matter.
The purged society is a regulated one presided over by philosophers educated by the state, who maintain three non-hereditary classes[29] as required: the tradesmen (including merchants and professionals), the guardians (militia and police) and the philosophers (legislators, administrators and the philosopher-king). Class is assigned at the end of education, when the state institutes individuals in their occupation. Socrates expects class to be hereditary but he allows for mobility according to natural ability. The criteria for selection by the academics is ability to perceive forms (the analog of English "intelligence") and martial spirit as well as predisposition or aptitude.
The views of Socrates on the proper order of society are certainly contrary to Athenian values of the time and must have produced a shock effect, intentional or not, accounting for the animosity against him. For example, reproduction is much too important to be left in the hands of untrained individuals: "... the possession of women and the procreation of children ... will ... follow the general principle that friends have all things in common, ...."[30] The family is therefore to be abolished and the children – whatever their parentage – to be raised by the appointed mentors of the state.
Their genetic fitness is to be monitored by the physicians: "... he (Asclepius, a culture hero) did not want to lengthen out good-for-nothing lives, or have weak fathers begetting weaker sons – if a man was not able to live in the ordinary way he had no business to cure him ...."[31] Physicians minister to the healthy rather than cure the sick: "... (Physicians) will minister to better natures, giving health both of soul and of body; but those who are diseased in their bodies they will leave to die, and the corrupt and incurable souls they will put an end to themselves."[32] Nothing at all in Greek medicine so far as can be known supports the airy (in the Athenian view) propositions of Socrates. Yet it is hard to be sure of Socrates' real views considering that there are no works written by Socrates himself. There are two common ideas pertaining to the beliefs and character of Socrates: the first being the Mouthpiece Theory where writers use Socrates in dialogue as a mouthpiece to get their own views across. However, since most of what we know about Socrates comes from plays, most of the Platonic plays are accepted as the more accurate Socrates since Plato was a direct student of Socrates.
Perhaps the most important principle is that just as the Good must be supreme so must its image, the state, take precedence over individuals in everything. For example, guardians "... will have to be watched at every age in order that we may see whether they preserve their resolution and never, under the influence either of force or enchantment, forget or cast off their sense of duty to the state."[33] This concept of requiring guardians of guardians perhaps suffers from the Third Man weakness (see below): guardians require guardians require guardians, ad infinitum. The ultimate trusty guardian is missing. Socrates does not hesitate to face governmental issues many later governors have found formidable: "Then if anyone at all is to have the privilege of lying, the rulers of the state should be the persons, and they ... may be allowed to lie for the public good."[34]
Plato's conception of Forms actually differs from dialogue to dialogue, and in certain respects it is never fully explained, so many aspects of the theory are open to interpretation. Forms are first introduced in the Phaedo, but in that dialogue the concept is simply referred to as something the participants are already familiar with, and the theory itself is not developed. Similarly, in the Republic, Plato relies on the concept of Forms as the basis of many of his arguments but feels no need to argue for the validity of the theory itself or to explain precisely what Forms are. Commentators have been left with the task of explaining what Forms are and how visible objects participate in them, and there has been no shortage of disagreement. Some scholars advance the view that Forms are paradigms, perfect examples on which the imperfect world is modeled. Others interpret Forms as universals, so that the Form of Beauty, for example, is that quality that all beautiful things share. Yet others interpret Forms as "stuffs," the conglomeration of all instances of a quality in the visible world. Under this interpretation, we could say there is a little beauty in one person, a little beauty in another—all the beauty in the world put together is the Form of Beauty. Plato himself was aware of the ambiguities and inconsistencies in his Theory of Forms, as is evident from the incisive criticism he makes of his own theory in the Parmenides.
Evidence of Forms[edit]
Plato's main evidence for the existence of Forms is intuitive only and is as follows.
Human perception[edit]
We call both the sky and blue jeans by the same color, blue. However, clearly a pair of jeans and the sky are not the same color; moreover, the wavelengths of light reflected by the sky at every location and all the millions of blue jeans in every state of fading constantly change, and yet we somehow have a consensus of the basic form Blueness as it applies to them. Says Plato:[35][36]
But if the very nature of knowledge changes, at the time when the change occurs there will be no knowledge, and, according to this view, there will be no one to know and nothing to be known: but if that which knows and that which is known exist ever, and the beautiful and the good and every other thing also exist, then I do not think that they can resemble a process of flux, as we were just now supposing.
Plato believed that long before our bodies ever existed, our souls existed and inhabited heaven, where they became directly acquainted with the forms themselves. Real knowledge, to him, was knowledge of the forms. But knowledge of the forms cannot be gained through sensory experience because the forms are not in the physical world. Therefore, our real knowledge of the forms must be the memory of our initial acquaintance with the forms in heaven. Therefore, what we seem to learn is in fact just remembering.[37]
Perfection[edit]
No one has ever seen a perfect circle, nor a perfectly straight line, yet everyone knows what a circle and a straight line are. Plato utilizes the tool-maker's blueprint as evidence that Forms are real:[38]
... when a man has discovered the instrument which is naturally adapted to each work, he must express this natural form, and not others which he fancies, in the material ....
Perceived circles or lines are not exactly circular or straight, and true circles and lines could never be detected since by definition they are sets of infinitely small points. But if the perfect ones were not real, how could they direct the manufacturer?
Criticisms of Platonic Forms[edit]
Self-criticism[edit]
Plato was well aware of the limitations of the theory, as he offered his own criticisms of it in his dialogue Parmenides. There Socrates is portrayed as a young philosopher acting as junior counterfoil to aged Parmenides. To a certain extent it is tongue-in-cheek as the older Socrates will have solutions to some of the problems that are made to puzzle the younger.[citation needed]
The dialogue does present a very real difficulty with the Theory of Forms, which Plato most likely only viewed as problems for later thought. These criticisms were later emphasized by Aristotle in rejecting an independently existing world of Forms. It is worth noting that Aristotle was a pupil and then a junior colleague of Plato; it is entirely possible that the presentation of Parmenides "sets up" for Aristotle; that is, they agreed to disagree.[citation needed]
One difficulty lies in the conceptualization of the "participation" of an object in a form (or Form). The young Socrates conceives of his solution to the problem of the universals in another metaphor, which though wonderfully apt, remains to be elucidated:[39]
Nay, but the idea may be like the day which is one and the same in many places at once, and yet continuous with itself; in this way each idea may be one and the same in all at the same time.
But exactly how is a Form like the day in being everywhere at once? The solution calls for a distinct form, in which the particular instances, which are not identical to the form, participate; i.e., the form is shared out somehow like the day to many places. The concept of "participate", represented in Greek by more than one word, is as obscure in Greek as it is in English. Plato hypothesized that distinctness meant existence as an independent being, thus opening himself to the famous third man argument of Parmenides,[40] which proves that forms cannot independently exist and be participated.[41]
If universal and particulars – say man or greatness – all exist and are the same then the Form is not one but is multiple. If they are only like each other then they contain a form that is the same and others that are different. Thus if we presume that the Form and a particular are alike then there must be another, or third Form, man or greatness by possession of which they are alike. An infinite regression would then result; that is, an endless series of third men. The ultimate participant, greatness, rendering the entire series great, is missing. Moreover, any Form is not unitary but is composed of infinite parts, none of which is the proper Form.
The young Socrates (some may say the young Plato) did not give up the Theory of Forms over the Third Man but took another tack, that the particulars do not exist as such. Whatever they are, they "mime" the Forms, appearing to be particulars. This is a clear dip into representationalism, that we cannot observe the objects as they are in themselves but only their representations. That view has the weakness that if only the mimes can be observed then the real Forms cannot be known at all and the observer can have no idea of what the representations are supposed to represent or that they are representations.
Socrates' later answer would be that men already know the Forms because they were in the world of Forms before birth. The mimes only recall these Forms to memory.[42] The comedian Aristophanes wrote a play, The Clouds, poking fun of Socrates with his head in the clouds.
Aristotelian criticism[edit]
The central image from Raphael's The School of Athens (1509-1511), depicting Plato (left) and Aristotle (right). Plato is depicted pointing upwards, in reference to his belief in the higher Forms, while Aristotle disagrees and points downwards to the here-and-now, in reference to his belief in empiricism.
The topic of Aristotle's criticism of Plato's Theory of Forms is a large one and continues to expand. Rather than quote Plato, Aristotle often summarized. Classical commentaries thus recommended Aristotle as an introduction to Plato. As a historian of prior thought, Aristotle was invaluable, however this was secondary to his own dialectic and in some cases he treats purported implications as if Plato had actually mentioned them, or even defended them. In examining Aristotle's criticism of The Forms, it is helpful to understand Aristotle's own hylomorphic forms, by which he intends to salvage much of Plato's theory.
In the summary passage quoted above[43] Plato distinguishes between real and non-real "existing things", where the latter term is used of substance. The figures that the artificer places in the gold are not substance, but gold is. Aristotle stated that, for Plato, all things studied by the sciences have Form and asserted that Plato considered only substance to have Form. Uncharitably, this leads him to something like a contradiction: Forms existing as the objects of science, but not-existing as non-substance. Scottish philosopher W.D. Ross objects to this as a mischaracterization of Plato.[44]
Plato did not claim to know where the line between Form and non-Form is to be drawn. As Cornford points out,[45] those things about which the young Socrates (and Plato) asserted "I have often been puzzled about these things"[46] (in reference to Man, Fire and Water), appear as Forms in later works. However, others do not, such as Hair, Mud, Dirt. Of these, Socrates is made to assert, "it would be too absurd to suppose that they have a Form."
Ross[44] also objects to Aristotle's criticism that Form Otherness accounts for the differences between Forms and purportedly leads to contradictory forms: the Not-tall, the Not-beautiful, etc. That particulars participate in a Form is for Aristotle much too vague to permit analysis. By one way in which he unpacks the concept, the Forms would cease to be of one essence due to any multiple participation. As Ross indicates, Plato didn't make that leap from "A is not B" to "A is Not-B." Otherness would only apply to its own particulars and not to those of other Forms. For example, there is no Form Not-Greek, only particulars of Form Otherness that somehow suppress Form Greek.
Regardless of whether Socrates meant the particulars of Otherness yield Not-Greek, Not-tall, Not-beautiful, etc., the particulars would operate specifically rather than generally, each somehow yielding only one exclusion.
Plato had postulated that we know Forms through a remembrance of the soul's past lives and Aristotle's arguments against this treatment of epistemology are compelling. For Plato, particulars somehow do not exist, and, on the face of it, "that which is non-existent cannot be known".[47] See Metaphysics III 3–4.[48]
Dialogues that discuss Forms[edit]
The theory is presented in the following dialogues:[49]
Meno
71–81, 85–86: The discovery (or "recollection") of knowledge as latent in the soul, pointing forward to the theory of Forms
Cratylus
389–390: The archetype as used by craftsmen
439–440: The problem of knowing the Forms.
Symposium
210–211: The archetype of Beauty.
Phaedo
73–80: The theory of recollection restated as knowledge of the Forms in soul before birth in the body.
109–111: The myth of the afterlife.
100c: The theory of absolute beauty
Republic
Book III
402–403: Education the pursuit of the Forms.
Book V
472–483: Philosophy the love of the Forms. The philosopher-king must rule.
Books VI–VII
500–517: Philosopher-guardians as students of the Beautiful and Just implement archetypical order.
Metaphor of the Sun: The sun is to sight as Good is to understanding.
Allegory of the Cave: The struggle to understand forms like men in cave guessing at shadows in firelight.
Books IX–X
589–599: The ideal state and its citizens. Extensive treatise covering citizenship, government and society with suggestions for laws imitating the Good, the True, the Just, etc.
Phaedrus
248–250: Reincarnation according to knowledge of the true
265–266: The unity problem in thought and nature.
Parmenides
129–135: Participatory solution of unity problem. Things partake of archetypal like and unlike, one and many, etc. The nature of the participation (Third man argument). Forms not actually in the thing. The problem of their unknowability.
Theaetetus
184–186: Universals understood by mind and not perceived by senses.
Sophist
246–248: True essence a Form. Effective solution to participation problem.
251–259: The problem with being as a Form; if it is participatory then non-being must exist and be being.
Timaeus
27–52: The design of the universe, including numbers and physics. Some of its patterns. Definition of matter.
Philebus
14-18: Unity problem: one and many, parts and whole.
Seventh Letter
342–345: The epistemology of Forms. The Seventh Letter is possibly spurious.
See also[edit]
Archetype
Analogy of the Divided Line
Form of the Good
Hyperuranion
Jungian archetypes
Map–territory relation
Nominalism
Platonic idealism
Plotinus
Problem of universals
Seventh Letter
Substantial form
Plato's unwritten doctrines, for debates over Forms and Plato's higher, esoteric theories
Notes[edit]
Jump up ^ Modern English textbooks and translations prefer "theory of Form" to "theory of Ideas", but the latter has a long and respect tradition starting with Cicero and continuing in German philosophy until present, and some English philosophers prefer this in English too. See W. D. Ross, Plato's Theory of Ideas (1951).
Jump up ^ The name of this aspect of Plato's thought is not modern and has not been extracted from certain dialogues by modern scholars. The term was used at least as early as Diogenes Laertius, who called it (Plato's) "Theory of Ideas:" Πλάτων ἐν τῇ περὶ τῶν ἰδεῶν ὑπολήψει..., "Plato". Lives of Eminent Philosophers. Book III. p. Paragraph 15.
Jump up ^ Plato uses many different words for what is traditionally called form in English translations and idea in German and Latin translations (Cicero). These include idéa, morphē, eîdos, and parádeigma, but also génos, phýsis, and ousía. He also uses expressions such as to x auto, "the x itself" or kath' auto "in itself". See Christian Schäfer: Idee/Form/Gestalt/Wesen, in Platon-Lexikon, Darmstadt 2007, p. 157.
Jump up ^ Forms (usually given a capital F) were properties or essences of things, treated as non-material abstract, but substantial, entities. They were eternal, changeless, supremely real, and independent of ordinary objects that had their being and properties by 'participating' in them.
Jump up ^ "Chapter 28: Form" of The Great Ideas: A Synopticon of Great Books of the Western World (Vol. II). Encyclopædia Britannica (1952), p. 526–542. This source states that Form or Idea get capitalized according to this convention when they refer "to that which is separate from the characteristics of material things and from the ideas in our mind."
Jump up ^ Watt, Stephen (1997). "Plato: Republic". London: Wordsworth Editions: xiv–xvi. ISBN 1-85326-483-0. |contribution= ignored (help)
Jump up ^ "*weid-". American Heritage Dictionary: Fourth Edition: Appendix I. 2000.
Jump up ^ Possibly cognate with Sanskrit bráhman. See Thieme (1952): Bráhman, ZDMG, vol. 102, p. 128. "ZDMG online". .
Jump up ^ "*bhā-". American Heritage Dictionary: Fourth Edition: Appendix I. 2000.
Jump up ^ Liddell, H.G.; Scott, R.; Whiton, J.M. (1891). A Lexicon Abridged From Liddell & Scott's Greek-English Lexicon. Harper. p. 725.
Jump up ^ "matter". American Heritage Dictionary: Fourth Edition. 2000.
Jump up ^ Parmenides.
Jump up ^ Kidder, D. S. and Oppenheim, N. D. (2006), The Intellectual Devotional, p27, Borders Group, Inc, Ann Arbor, ISBN 978-1-60961-205-4.
Jump up ^ Cratylus 389: "For neither does every smith, although he may be making the same instrument for the same purpose, make them all of the same iron. The form must be the same, but the material may vary ...."
Jump up ^ For example, Theaetetus 185d–e: "...the mind in itself is its own instrument for contemplating the common terms that apply to everything." "Common terms" here refers to existence, non-existence, likeness, unlikeness, sameness, difference, unity and number.
Jump up ^ The creation of the universe is the creation of time: "For there were no days and nights and months and years ... but when he (God) constructed the heaven he created them also." — Timaeus, paragraph 37. For the creation God used "the pattern of the unchangeable," which is "that which is eternal." — paragraph 29. Therefore "eternal" – to aïdion, "the everlasting" – as applied to Form means atemporal.
Jump up ^ Space answers to matter, the place-holder of form: "... and there is a third nature (besides Form and form), which is space (chōros), and is eternal (aei "always", certainly not atemporal), and admits not of destruction and provides a home for all created things ... we say of all existence that it must of necessity be in some place and occupy space ...." — Timaeus, paragraph 52. Some readers will have long since remembered that in Aristotle time and space are accidental forms. Plato does not make this distinction and concerns himself mainly with essential form. In Plato, if time and space were admitted to be form, time would be atemporal and space aspatial.
Jump up ^ These terms produced with the English prefix a- are not ancient. For the usage refer to "a- (2)". Online Etymology Dictionary. They are however customary terms of modern metaphysics; for example, see Beck, Martha C. (1999). Plato's Self-Corrective Development of the Concepts of Soul, Form and Immortality in Three Arguments of the Phaedo. Edwin Mellon Press. p. 148. ISBN 0-7734-7950-3. and see Hawley, Dr. Katherine (2001). How Things Persist. Oxford: Clarendon Press. Chapter 1. ISBN 0-19-924913-X.
Jump up ^ For example, Timaeus 28: "The work of the creator, whenever he looks to the unchangeable and fashions the form and nature of his work after an unchangeable pattern, must necessarily be made fair and perfect ...."
Jump up ^ "No sensible man would insist that these things are as I have described them..." (Phd. 114d).
Jump up ^ "there is no Platonic 'elsewhere', similar to the Christian 'elsewhere'." (Iris Murdoch, "Metaphysics as a Guide to Morals" (London, Chatto & Windus 1992) 399).
Jump up ^ Plato's Middle Period Metaphysics and Epistemology
Jump up ^ Cf. the Analogy of the Cave, Rep. 514a–520a.
Jump up ^ Republic, 508b trans. Grube
Jump up ^ cf. Phaedo, Meno, Phaedrus
Jump up ^ Paragraph 420.
Jump up ^ The word is ethnos, "people". For the full range of meanings consult the American Heritage Dictionary online under ethnic.
Jump up ^ Paragraph 399e line 5.
Jump up ^ "Types" (genē) rather than the English economic classes or the favored populations of the real Greek cities.
Jump up ^ Paragraph 424.
Jump up ^ Paragraph 407.
Jump up ^ Paragraph 410.
Jump up ^ Paragraph 412.
Jump up ^ Paragraph 389.
Jump up ^ Cratylus, paragraph 440.
Jump up ^ Aristotle in Metaphysics Α987a.29–b.14 and Μ1078b9–32 says that Plato devised the Forms to answer a weakness in the doctrine of Heraclitus, who held that nothing exists, but everything is in a state of flow. If nothing exists then nothing can be known. It is possible that Plato took the Socratic search for definitions and extrapolated it into a distinct metaphysical theory. Little is known of the historical Socrates' own views, but the theory of Forms is likely a Platonic innovation.
Jump up ^ Kidder, D. S. and Oppenheim, N. D, (2006), The Intellectual Devotional, p27, Borders Group, Inc, Ann Arbor. ISBN 978-1-60961-205-4
Jump up ^ Cratylus, paragraph 389.
Jump up ^ Parmenides 131.
Jump up ^ The name is from Aristotle, who says in Metaphysics A.IX.990b.15: "(The argument) they call the third man." A summary of the argument and the quote from Aristotle can be found in the venerable Grote, George (1880). "Aristotle: Second Edition with Additions". London: John Murray: 559–60 note b. |contribution= ignored (help) (downloadable Google Books). Grote points out that Aristotle lifted this argument from the Parmenides of Plato; certainly, his words indicate the argument was already well-known under that name.
Jump up ^ Analysis of the argument has been going on for quite a number of centuries now and some analyses are complex, technical and perhaps tedious for the general reader. Those who are interested in the more technical analyses can find more of a presentation in Hales, Steven D. (1991). "The Recurring Problem of the Third Man" (PDF). Auslegung. 17 (1): 67–80. and Durham, Michael (1997). "Two Men and the Third Man" (PDF). The Dualist: Undergraduate Journal of Philosophy (Stanford University). 4.
Jump up ^ Plato to a large extent identifies what today is called insight with recollection: "whenever on seeing one thing you conceived another whether like or unlike, there must surely have been an act of recollection?" — Phaedo, paragraph 229. Thus geometric reasoning on the part of persons who know no geometry is not insight but is recollection. He does recognize insight: "... with a sudden flash there shines forth understanding about every problem ..." (with regard to "the course of scrutiny") — The Seventh Letter 344b. Unfortunately the hidden world can in no way be verified in this world and its otherworldness can only be a matter of speculation. Plato was aware of the problem: "How real existence is to be studied or discovered is, I suspect, beyond you and me." — Cratylus, paragraph 439.
Jump up ^ Paragraph 50 a–c, Jowett translation.
^ Jump up to: a b Ross, Chapter XI, initial.
Jump up ^ Pages 82–83.
Jump up ^ Parmenides, paragraph 130c.
Jump up ^ Posterior Analytics 71b.25.
Jump up ^ Book III Chapters 3–4, paragraphs 999a ff.
Jump up ^ See "Chapter 28: Form" of The Great Ideas: A Synopticon of Great Books of the Western World (Vol. II). Encyclopædia Britannica (1952), pp. 536–541.
Bibliography[edit]
Alican, Necip Fikri (2012). Rethinking Plato: A Cartesian Quest for the Real Plato. Amsterdam and New York: Editions Rodopi B.V. ISBN 978-90-420-3537-9.
Alican, Necip Fikri; Thesleff, Holger (2013). "Rethinking Plato's Forms". Arctos: Acta Philologica Fennica. 47: 11–47. ISSN 0570-734X.
Alican, Necip Fikri (2014). "Rethought Forms: How Do They Work?". Arctos: Acta Philologica Fennica. 48: 25–55. ISSN 0570-734X.
Cornford, Francis MacDonald (1957). Plato and Parmenides. New York: The Liberal Arts Press.
Dancy, Russell (2004). Plato's Introduction of Forms. Cambridge: Cambridge University Press. ISBN 978-0-521037-18-1.
Fine, Gail (1993). On Ideas: Aristotle's Criticism of Plato's Theory of Forms. Oxford: Oxford University Press. ISBN 978-0-198235-49-1. OCLC 191827006. Reviewed by Gerson, Lloyd P (1993). "Gail Fine, On Ideas. Aristotle's Criticism of Plato's Theory of Forms". Bryn Mawr Classical Review 04.05.25. Bryn Mawr Classical Review.
Fine, Gail (2003). Plato on Knowledge and Forms: Selected Essays. Oxford: Clarendon Press. ISBN 978-0-199245-59-8.
Patterson, Richard (1985). Image and Reality in Plato's Metaphysics. Indianapolis: Hackett Publishing Company. ISBN 978-0-915145-72-0.
Rodziewicz, Artur (2012). IDEA AND FORM. ΙΔΕΑ ΚΑΙ ΕΙΔΟΣ. On the Foundations of the Philosophy of Plato and the Presocratics (IDEA I FORMA. ΙΔΕΑ ΚΑΙ ΕΙΔΟΣ. O fundamentach filozofii Platona i presokratyków). Wroclaw: WUWR.
Ross, William David (1951). Plato's Theory of Ideas. Oxford: Clarendon Press. ISBN 978-0-837186-35-1.
Thesleff, Holger (2009). Platonic Patterns: A Collection of Studies by Holger Thesleff. Las Vegas: Parmenides Publishing. ISBN 978-1-930972-29-2.
Welton, William A., editor (2002). Plato's Forms: Varieties of Interpretation. Lanham: Rowman & Littlefield. ISBN 978-0-7391-0514-6. CS1 maint: Extra text: authors list (link)
External links[edit]
Look up εἶδος in Wiktionary, the free dictionary.
"Form". Encyclopædia Britannica (11th ed.). 1911.
Cohen, Marc (2006). "Theory of Forms". Philosophy 320: History of Ancient Philosophy. University of Washington Philosophy Department.
"Lesson Three: Plato's Theory of Forms". International Catholic University.
Ruggiero, Tim (July 2002). "Plato And The Theory of Forms". philosophical society.com. Philosophical Society.com.
Silverman, Allan. "Plato's Middle Period Metaphysics and Epistemology". In Zalta, Edward N. Stanford Encyclopedia of Philosophy.
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It Is Well with My Soul
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"It Is Well" redirects here. For the Kutless album, see It Is Well (album).
It Is Well With My Soul
by Horatio Spafford
Horatio Spafford
Genre
Hymn
Written
1873
Based on
3 John 2
Meter
11.8.11.9 with refrain
Melody
"Ville du Havre" by Philip Bliss
(Original lyrics)[1]
When peace like a river, attendeth my way,
When sorrows like sea billows roll;
Whatever my lot, Thou hast taught me to knowa
It is well, it is well, with my soul.
Refrain:
It is well, (it is well),
With my soul, (with my soul)
It is well, it is well, with my soul.
Though Satan should buffet, though trials should come,
Let this blest assurance control,
That Christ has regarded my helpless estate,
And hath shed His own blood for my soul.
My sin, oh, the bliss of this glorious thought!
My sin, not in part but the whole,
Is nailed to the cross, and I bear it no more,
Praise the Lord, praise the Lord, O my soul!
For me, be it Christ, be it Christ hence to live:
If Jordan above me shall roll,
No pang shall be mine, for in death as in life,
Thou wilt whisper Thy peace to my soul.
But Lord, 'tis for Thee, for Thy coming we wait,
The sky, not the grave, is our goal;
Oh, trump of the angel! Oh, voice of the Lord!
Blessed hope, blessed rest of my soul.
And Lord, haste the day when the faith shall be sight,
The clouds be rolled back as a scroll;
The trump shall resound, and the Lord shall descend,
A song in the night, oh my soul! b
a "know" (at the end of the third line) was changed to "say".
b "A song in the night, oh my soul" (last line)
was changed to "Even so, it is well with my soul".
"It Is Well With My Soul" is a hymn penned by hymnist Horatio Spafford and composed by Philip Bliss. First published in Gospel Songs No. 2 by Ira Sankey and Bliss (1876), it is possibly the most influential and enduring in the Bliss repertoire and is often taken as a choral model, appearing in hymnals of a wide variety of Christian fellowships.[2]
Contents
1 Background
2 Notable performances
2.1 Hillsong Church version
3 References
4 External links
Background[edit]
This hymn was written after traumatic events in Spafford's life. The first was the death of his son at the age of two and the Great Chicago Fire of 1871, which ruined him financially (he had been a successful lawyer and had invested significantly in property in the area of Chicago that was extensively damaged by the great fire). His business interests were further hit by the economic downturn of 1873, at which time he had planned to travel to Europe with his family on the SS Ville du Havre. In a late change of plan, he sent the family ahead while he was delayed on business concerning zoning problems following the Great Chicago Fire. While crossing the Atlantic Ocean, the ship sank rapidly after a collision with a sea vessel, the Loch Earn, and all four of Spafford's daughters died. His wife Anna survived and sent him the now famous telegram, "Saved alone …". Shortly afterwards, as Spafford traveled to meet his grieving wife, he was inspired to write these words as his ship passed near where his daughters had died.[3] Bliss called his tune Ville du Havre, from the name of the stricken vessel.[4]
The sinking of the steamship Ville du Havre
Philip Bliss
The Spaffords later had three more children. On February 11, 1880, their son, Horatio Goertner Spafford, died at the age of four, of scarlet fever. Their daughters were Bertha Hedges Spafford (born March 24, 1878) and Grace Spafford (born January 18, 1881). Their Presbyterian church regarded their tragedy as divine punishment. In response, the Spaffords formed their own Messianic sect, dubbed "the Overcomers" by American press. In 1881, the Spaffords, including baby Bertha and newborn Grace, set sail for Ottoman-Turkish Palestine. The Spaffords settled in Jerusalem and helped found a group called the American Colony. Colony members, later joined by Swedish Christians, engaged in philanthropic work among the people of Jerusalem regardless of their religious affiliation and without proselytizing motives—thereby gaining the trust of the local Muslim, Jewish, and Christian communities. During and immediately after World War I, the American Colony played a critical role in supporting these communities through the great suffering and deprivations by running soup kitchens, hospitals, orphanages and other charitable ventures. The colony later became the subject of Jerusalem by the Nobel prize-winning author, Swedish novelist Selma Lagerlöf.[3]
Notable performances[edit]
The Georgia Southern University marching band Southern Pride plays the song at the end of each win.[5]
1961: Tennessee Ernie Ford; Hymns at Home
1963: Doris Akers; Forever Faithful
1968: Mahalia Jackson; A Mighty Fortress
1991: Don Moen; Eternal God
1995: Jennifer Holliday; On & On
1995: Crystal Lewis; (Hymns) My Life
1999: Audio Adrenaline; Underdog
1999: Selah; Be Still My Soul
2000: 4Him; Hymns: A Place of Worship
2001: Dwight Yoakam; South of Heaven, West of Hell
2002: Rebecca St. James; Worship God
2002: Amy Grant, with a portion of the song along with "The River's Gonna Keep On Rolling" (written by Vince Gill) on her album Legacy... Hymns and Faith
2003: The Three Tenors; Bath 2003
2005: Jars of Clay; Redemption Songs
2006: Chris Rice; Peace Like a River: The Hymns Project
2008: Kristyn Getty (YouTube)[6]
2009: Kutless; It Is Well
2011: Hillsong Music (Darlene Zschech) single (new bridge added by Reuben Morgan & Ben Fielding); all proceeds from the recording go to help the Queensland Flood Relief Effort[7]
2011: Josh Wilson; See You, instrumental version, finger-style guitar
2011: Mary Mary; Something Big
2013: Eleventyseven; Good Spells (EP)
2014: Michael W. Smith; Hymns
2014: Shane & Shane; The Worship Initiative, Vol. 4
2014: Sebastian Demrey; Heritage; Hymns of our Faith
2014: Newsboys; Hallelujah for the Cross
2014: Bro. Philemon featuring Morris Babyface[8][9]
2015: Kristian Stanfill from the Passion Conferences's album Even So Come
2016: Audrey Assad; Inheritance
2016: Joey + Rory; Hymns That Are Important to Us
2017: Vocal Point; Music Video Hits (Vol. 2)[10]
2017: MercyMe sampled this song in "Even If" from their album Lifer
2017: The Mormon Tabernacle Choir performed this song during their weekly broadcast of Music and the Spoken Word on June 25th.
2017: The Mormon Tabernacle Choir with Hugh Bonneville performed this song while recounting its history during its annual Christmas concert from December 15th through 17th.
2018: Kaleb Lee performance on NBC’s The Voice. May 14, 2018.
Hillsong Church version[edit]
"It Is Well With My Soul"
Single by Hillsong Church
Released
2011
Recorded
2011
Genre
Contemporary worship
Label
Hillsong Music Australia
Hillsong Music Australia
Singles singles chronology
"It Is Well With My Soul"
(2011) "Man of Sorrows"
(2013)
"It Is Well With My Soul"
(2011) "Man of Sorrows"
(2013)
Hillsong Live team recorded a special single in December 2010 to aid victims of the 2010-2011 flooding in Queensland, Australia. It reached the ARIA Singles Chart Top 100[11] with all proceeds from the sale of this single going to the relief effort. The song features Darlene Zschech as lead vocalist, with a new added bridge composed by Reuben Morgan and Ben Fielding, and was recorded in Sydney, Australia in three days, mixed in England overnight and mastered in Los Angeles, before being released in the iTunes Store the following weekend.[citation needed]
References[edit]
Jump up ^ "History". Kosinski Studio. Archived from the original on March 11, 2013. Retrieved March 26, 2013.
Jump up ^ The presence of a refrain makes the item technically a gospel song versus a hymn in the strict sense.
^ Jump up to: a b "The American Colony in Jerusalem, 1870-2006". Retrieved May 2, 2013.
Jump up ^ McCann, Forrest M. (1997). Hymns and History: An Annotated Survey of Sources. Abilene, Texas: ACU Press. ISBN 0-89112-058-0, pp. 154, 327-328, 359-360, 520, 597.
Jump up ^ Sandra Bennett (2012). "The Beat Goes On". Retrieved March 2, 2014.
Jump up ^ "Gettys—It Is Well". YouTube. Retrieved October 15, 2011.
Jump up ^ Reuben Morgan (2011). "Hillsong collected blog—It Is Well". Retrieved January 22, 2011.
Jump up ^ "Bro Philemon - It Is Well ft. Morris Babyface (Official Video with lyrics) | GhanaMusic.com Video" (partly sung in Mandarin Chinese), YouTube.
Jump up ^ Francis Doku, "Best Male Artiste in African Inspirational Music category for AFRIMA 2014", Modern Ghana, 28 September 2014.
Jump up ^ BYU Vocal Point, "It Is Well with My Soul | BYU Vocal Point (A Cappella)", YouTube, Feb 20, 2017. Retrieved 2018-04-15.
Jump up ^ "The ARIA Report" (PDF). Australian Recording Industry Association (ARIA). 31 January 2001. Archived from the original (PDF) on 21 February 2011. Retrieved 22 June 2014.
External links[edit]
Wikisource has original text related to this article:
It Is Well with My Soul
Library of Congress item mamcol.016 High resolution images of the restored original manuscript (up to 22 MB) front AND back at the Library of Congress. (Includes an extra verse on the back, as well as notes from his prayer meetings)
SpaffordHymn.com The original Hymn manuscript
The American Colony in Jerusalem (A Library of Congress Exhibition)
McCann, Forrest Mason (1997). Hymns & History: An Annotated Survey of Sources. Abilene, Texas: ACU Press, pp. 327–328, 520, 597. ISBN 0-89112-058-0
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text:
Voices Carry
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Voices Carry (disambiguation).
"Voices Carry"
The album of the same name uses the same artwork for its front cover.
Single by 'Til Tuesday
from the album Voices Carry
B-side
"Are You Serious?"
Released
March 28, 1985
Format
7"
12"
CD single
Recorded
1985 at R.P.M. Sound Studios (New York City, New York)
Genre
Pop, new wave
Length
4:20
Label
Epic
Songwriter(s)
Robert Holmes / Aimee Mann / Michael Hausman / Joey Pesce[1]
Producer(s)
Mike Thorne
'Til Tuesday singles chronology
"Voices Carry"
(1985) "Looking Over My Shoulder"
(1985)
"Voices Carry"
(1985) "Looking Over My Shoulder"
(1985)
"Voices Carry" is a song by the American rock band 'Til Tuesday. It was produced by Mike Thorne for the band's debut studio album, Voices Carry (1985). The song's lyrics, written by the band's frontwoman Aimee Mann, portray a lover in an affair, and were originally written and sung as if to a woman, but changed due to Epic Records' pressure. The song was inspired by Mann's breakup with 'Til Tuesday drummer, Michael Hausman.[2]
The accompanying music video, directed by D.J. Webster, received wide exposure on MTV, positive reactions from critics, was nominated for numerous awards, and is thought to be the reason behind the song's success. It was released in North America in March 1985. "Voices Carry" became the band's highest charting single and their only top ten hit in the U.S., peaking at number eight on the Billboard Hot 100. Internationally it reached the top twenty in Canada and Australia.
Contents
[hide]
1 Recording and production
2 Reception
2.1 Critical response
2.2 Chart performance
3 Music video
4 Cover versions
5 Credits and personnel
6 Formats and track listing
7 Chart positions
8 Notes
9 References
10 External links
Recording and production[edit]
"Voices Carry"
A 26-second sample from "Voices Carry", featuring Mann singing the last part of the song while the rest of the band provides the background vocals.
Problems playing this file? See media help.
"Voices Carry" was recorded in 1985 at RPM Sound Studios in New York.[3] The song is about past sour relationships,[4] and was originally written and sung by Aimee Mann as to a woman.[3] 'Til Tuesday rehearsed that format in Boston the previous summer, but Epic was unhappy with the lyrics; they thought that it was a "very powerful, commercial song", and wanted to remove the lesbian components to appeal to the mainstream market.[3]
Despite the pressure to replace the lyrics, producer Mike Thorne thought that "it didn't matter any to the impact of the song itself", and the band eventually changed the gender of the love interest.[3] At the beginning, 'Til Tuesday and Thorne were undecided between "Love in a Vacuum" and "Looking over My Shoulder" to be released as the first single, but ultimately Epic's A&R executive Dick Wingate chose "Voices Carry", because it "define[d] precisely the band and its style".[3] According to Thorne, his contract stated that he had the right to be the first to remix the song for the 7" single release. He was then told that it had been remixed by Bob Clearmountain; about this he commented, "not what the rules were [...] but it sounded pretty good, as well it might coming from one of the finest American engineer/producers".[3]
Reception[edit]
Critical response[edit]
"Voices Carry" received generally positive reviews from pop music critics. In a review of the band's second album Welcome Home, David Wild from Rolling Stone magazine said that their "debut [album], Voices Carry, had its icy charms", calling the song "wonderfully eerie".[5] Allmusic's Stewart Mason said that "'Voices Carry' is one of the most distinctive radio singles of its era"; he also praised the production saying that it "does wonders both for Mann's breathy voice and the [...] chorus, which brilliantly releases the tension that builds throughout the stark, paranoid verses".[6] Joe Viglione also from Allmusic, in a review of their debut album said that the song is "captivating", and praised its production saying that Mike Thorne did an "excellent work".[7] Phillip Mottaz of The Tripwire believed that the song "has everything that makes a song fun and effective", and felt that it is a "testament to honest production and emotional quality".[8]
Dennis Hunt of the Los Angeles Times said that Mann have "a distinct naturalism [that] governs her vocals" and that "the frailty, roughness and lack of great range in her voice [...] [is] genuinely appealing", adding that if she were a "polished singer, songs like 'Voices Carry' [...] wouldn't be half as appealing";[9] while Robert Hilburn of the same newspaper said that Mann "exhibits winning vocal authority on record", adding that the "only thing she needs is another Dave Stewart to give her more tailored and absorbing arrangements and material".[10] Steve Peake of About.com placed "Voices Carry" at number five of his list of the "Top 10 Songs of 1985", calling it a "nearly flawless pop single".[11] Lynn Van Matre of the Chicago Tribune said that "much of the group's material falls into the dance rock category", adding that the "bluesy title cut, [...] 'Voices Carry', was particularly impressive".[12] Brent Mann, in his book 99 Red Balloons... called it "the quintessential New Wave song", and felt that "Mann's cool, dark lead vocals were right in step with the style".[13]
Chart performance[edit]
"Voices Carry" was released in the United States in March 1985. It first appeared on the Bubbling Under Hot 100 Singles chart at number four, the next week it debuted at number eighty-one on the Billboard Hot 100.[14] It reached a peak position of number eight in its fourteenth week, and stayed twenty-one weeks on the chart,[15] becoming the band's first and only top ten single in the United States.[16] The success of the single helped their debut album reach the top twenty on the Billboard 200 chart,[17] and pushed it past the gold mark.[4]
In Canada, the single entered the RPM singles chart on June 1985 at number ninety-four,[18] peaked at number fifteen for two weeks in August 1985,[19] stayed twenty-two weeks in total,[20] and was certified gold by the Canadian Recording Industry Association (CRIA).[21] In Australia, "Voices Carry" entered the Kent Music Report on June 17, 1985; it peaked at number fifteen, and spent fourteen weeks on the chart.[22]
Music video[edit]
Mann lashing out to her boyfriend during a concert at Carnegie Hall. She stands up from her seat and removes her cap to reveal her spiky hair, stunning the audience.
The music video for "Voices Carry" was directed by D.J. Webster,[23] and filmed at Dorchester's Strand Theater, Davio's Restaurant, and W. Brookline St in Boston.[24] The clip incorporates dialogue and acting, and resembles a mini-movie. The plot centers on the band's lead singer, Aimee Mann, who appears as a musician with an abusive boyfriend, played by actor Cully Holland.[25] He mistreats her for playing in a rock band, and demands that she change her look to fit in his upper-class lifestyle. The video uses spoken dialogue in between to interrupt the musical parts, including Mann's boyfriend demanding: "Why can't you for once do something for me?".[23] At the end, the couple attend a concert at Carnegie Hall where the boyfriend is angered to notice part of Mann's rattail sticking out from under her cap. At her breaking point, Mann lashes out at him, jumping up from her seat in the audience and yelling the lyrics—"He said, shut up! He said, shut up! Oh God, can't you keep it down?..."—as she removes her cap to reveal her spiky, rat-tailed hair, while the boyfriend now hides his face in embarrassment and the rest of the audience watches in shock.[26]
The success of the single was largely attributed to the video,[27] which received wide exposure on MTV,[4][28] along with positive reactions from critics and nominations to numerous awards. Keith Thomas of Knight Ridder newspapers called the video "a clever and stunning effort". Praising the dialogue and acting he said that it "looks better than most feature films", adding that "everything about the clip is grand".[26] Robert Hilburn of the Los Angeles Times also praised Mann's acting, saying that she appears "marvelously charismatic" in it,[10] while Dennis Hunt from the same newspaper said that it was "cleverly conceived".[9] Debbie del Condo of the Orlando Sentinel called it the "Most Memorable Video of 1985", and added that she will "keep waiting for their next video".[29] In his book Totally awesome 80s, author Matthew Rettenmund called it a "great story video".[30] Author Brent Mann in his book 99 Red Balloons..., called the video "pure New Wave" and added that it was "perfect for MTV and VH1 consumption".[13]
At the 1985 MTV Video Music Awards, the band won the award for Best New Artist in a video.[31] The same year, at the Fourth Annual American Video Awards, Mann was named the Best Female Performer in a video for "Voices Carry".[32] The video was placed number forty on Slant Magazine's 2003 list of the "100 Greatest Music Videos",[23] and was listed on Pitchfork Media's "100 Awesome Music Videos", in 2006.[33]
The 2012 music video for "Labrador", the second single from her album Charmer, features a satirical shot-for-shot remake of "Voices Carry" video within the framing device of Mann having been forced to shoot the video after inadvertently signing complete control of the video over to director Tom Scharpling. The video features Jon Wurster as the Wall Street boyfriend, Jon Hamm as Scharpling, and Ted Leo in a cameo.[34]
Cover versions[edit]
"Voices Carry" has been covered by numerous artists both in albums and live performances. American band Gang Green made a hardcore punk version of the song for their 1986 debut album Another Wasted Night.[35] Noise pop band Morella's Forest covered the song for their debut EP Hang Out,[36] and was later included on the 2002 tribute album 80s Tribute, Vol. 1.[37] Singing group Toxic Audio made an a cappella cover for their 2005 album Word of Mouth.[38] American singer Vitamin C made a pop cover of the song for the soundtrack of Disney's 2005 film Sky High.[39] The song along with other hits of the 1980s were covered by American singer Tiffany for her 2007 album I Think We're Alone Now: '80s Hits and More.[40] American musical duo MGMT included the song as part of the setlist for their performance at the 2009 Bonnaroo Music Festival.[41] Covers by other artists in live performances includes versions by American Idol's winner Carrie Underwood, and rock musician Courtney Love.[8] While not a strict cover, pop punk band Fifteen incorporated the chorus into their anti-abuse song "Survivor," on the album of the same name. Mash up band Rock Sugar used "Voices Carry" in their mash up "Voices in the Jungle" along with Guns N' Roses' song "Welcome to the Jungle."
Credits and personnel[edit]
Aimee Mann – bass guitar, lead vocals, lyrics
Michael Hausman – drums, percussion
Robert Holmes – background vocals, guitar
Joey Pesce – background vocals, synthesizer
Mike Thorne – producer
Dick Wingate – executive producer
Bob Clearmountain – audio mixing
Britain Hill – photography
Formats and track listing[edit]
These are the formats and track listings of major single releases of "Voices Carry":
7" Single: Australia/North America
"Voices Carry" – 4:19
"Are You Serious?" – 3:15
12" Maxi-Single: Netherlands
"Voices Carry" – 4:19
"Are You Serious?" – 3:15
"Sleep" – 3:40
12" Maxi-Single: North America
"Voices Carry" (Long version) – 4:19
"Voices Carry" (Single mix) – 3:59
Chart positions[edit]
Chart (1985)
Peak
position
Australian Kent Music Report[22] 15
Canadian RPM Singles Chart[42] 15
U.S. Billboard Hot 100[15] 8
US Radio & Records CHR/Pop Airplay Chart[43] 7
U.S. Billboard Top Rock Tracks[44] 14
Notes[edit]
Jump up ^ [1]
Jump up ^ Strong, Martin C. (2000). The Great Rock Discography (5th ed.). Edinburgh: Mojo Books. p. 603. ISBN 1-84195-017-3.
^ Jump up to: a b c d e f Thorne, Mike (March 1999). "The making of 'Til Tuesday's Voices Carry". The Stereo Society. Archived from the original on 2008-06-07. Retrieved 2009-08-23.
^ Jump up to: a b c Assael, Shaun (1985-11-21). "Aimee Mann talks quietly about success". The Ledger. The New York Times Company. Retrieved 2009-08-04.
Jump up ^ Wild, David (1986-11-06). "'Til Tuesday: Voices Carry: Music Reviews". Rolling Stone. RealNetworks. Retrieved 2009-08-20.
Jump up ^ Mason, Stewart. "Song Review: Voices Carry". Allmusic. Rovi Corporation. Retrieved 2009-08-20.
Jump up ^ Viglione, Joe. "Album Review: Voices Carry". Allmusic. Rovi Corporation. Retrieved 2009-08-19.
^ Jump up to: a b Mottaz, Phillip (2008-11-17). "Greatest Song At This Moment – 'Til Tuesday's "Voices Carry"". The Tripwire. Retrieved 2009-08-19.
^ Jump up to: a b Hunt, Dennis (1985-06-23). "Faces: Aimee Mann's Voice, Lyrics Carry Her". Los Angeles Times. Tribune Company. Retrieved 2009-08-17.
^ Jump up to: a b Hilburn, Robert (1985-05-15). "Pop Music Disc Derby: Riding the Next 'Wave' Order of Finishwin". Los Angeles Times. Tribune Company. Retrieved 2009-08-17.
Jump up ^ Peake, Steve. "Top 10 Songs of 1985". About.com. The New York Times Company. Retrieved 2009-08-20.
Jump up ^ Van Matre, Lynn (1985-04-08). "Hall & Oates Entertainingly Funky". Chicago Tribune. Tribune Company. Retrieved 2009-08-20.
^ Jump up to: a b Mann, 2003. p. 47.
Jump up ^ "Hot 100: Week of April 13, 1985 – Voices Carry". Billboard. Nielsen Business Media. 1985-04-13. Retrieved 2009-08-04.
^ Jump up to: a b "Hot 100: Week of July 13, 1985 – Voices Carry". Billboard. Nielsen Business Media. 1985-07-13. Retrieved 2009-08-04.
Jump up ^ "Artist Chart History – 'Til Tuesday". Billboard. Nielsen Business Media. Retrieved 2009-08-04.
Jump up ^ Erlewine, Stephen Thomas. "'Til Tuesday> Biography". Allmusic. Rovi Corporation. Retrieved 2009-08-04.
Jump up ^ "Top Singles – Volume 42, No. 12, June 01, 1985". RPM. RPM Music Publications Ltd. 1985-06-01. Retrieved 2009-08-04.
Jump up ^ "Top Singles – Volume 42, No. 23, August 17, 1985". RPM. RPM Music Publications Ltd. 1985-08-17. Retrieved 2009-08-04.
Jump up ^ "Top Singles – Volume 43, No. 7, October 26, 1985". RPM. RPM Music Publications Ltd. 1985-10-26. Retrieved 2009-08-04.
Jump up ^ "Canadian Recording Industry Association (CRIA) – 'Til Tuesday". Canadian Recording Industry Association. 1985-09-30. Retrieved 2009-10-15.
^ Jump up to: a b Kent, David (1993). Australian Chart Book 1970-1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. NOTE: Used for singles and albums charting from 1970 until ARIA created their own charts in mid-1988.
^ Jump up to: a b c Gonzalez, Ed; Cinquemani, Sal (2003). "100 Greatest Music Videos". Slant Magazine. Retrieved 2009-08-05.
Jump up ^ Morse, Steve (1985-11-28). "'Til Tuesday Pushing the Fast Forward Button". The Boston Globe. The New York Times Company. Retrieved 2009-08-17.
Jump up ^ "Other Works – Cully Holland". IMDb. Amazon.com. Retrieved 2009-08-19.
^ Jump up to: a b Thomas, Keith (1985-06-04). "What Spokane is Viewing". The Spokesman-Review. Cowles Publishing Company. Retrieved 2009-08-12.
Jump up ^ Blauner, Peter (1985-07-15). "The Story of Mann". New York. New York Media, LLC. 18 (27): 28. ISSN 0028-7369.
Jump up ^ Galante, Debbie (2001-07-28). "Twenty Years of MTV". Billboard. Nielsen Business Media. 113 (30): 70. ISSN 0006-2510.
Jump up ^ Del Condo, Debbie (1985-07-07). "Six Months is Plenty Long Enough to Issue 1985's Videos their Due". Orlando Sentinel. Tribune Company. Retrieved 2009-08-17.
Jump up ^ Rettenmund, 1996. p. 159.
Jump up ^ "MTV Video Music Awards – 1985". MTV. MTV Networks. 1985-09-13. Retrieved 2009-08-05.
Jump up ^ Berra, Yegi (1985-11-22). "'The Boss' Wins Awards". Star-Banner. The New York Times Company. Retrieved 2009-08-09.
Jump up ^ Pitchfork Staff (2006-06-20). "100 Awesome Music Videos". Pitchfork Media. Pitchfork Media, Inc. Retrieved 2009-08-17.
Jump up ^ Aimee Mann remakes "Voices Carry" with help from Ted Leo, Jon Hamm, Tom Scharpling, and Jon Wurster - AV Club
Jump up ^ Jeffries, Vincent. "Album Review: Another Wasted Night". Allmusic. Rovi Corporation. Retrieved 2009-08-18.
Jump up ^ "Album Overview: Hang Out (EP)". Allmusic. Rovi Corporation. Retrieved 2009-08-18.
Jump up ^ Cramer, Stephen. "Album Review: 80s Tribute, Vol. 1". Allmusic. Rovi Corporation. Retrieved 2009-08-18.
Jump up ^ Ruhlmann, William. "Album Review: Word of Mouth". Allmusic. Rovi Corporation. Retrieved 2009-08-18.
Jump up ^ Phares, Heather. "Album Review: Sky High (Original Soundtrack)". Allmusic. Rovi Corporation. Retrieved 2009-08-19.
Jump up ^ "Album Overview: I Think Were Alone Now: 80s Hits And More". Allmusic. Rovi Corporation. Retrieved 2009-08-18.
Jump up ^ Goodman, William (2009-06-14). "MGMT's Crowning Moment: Bonnaroo Headliners". Spin. Spin Media LLC. Retrieved 2009-08-18.
Jump up ^ "Top Singles – Volume 43, No. 5, October 12, 1985". RPM. RPM Music Publications Ltd. 1985-10-12. Retrieved 2009-08-04.
Jump up ^ http://wweb.uta.edu/faculty/gghunt/charts/tiltuesday.html
Jump up ^ "Voices Carry > Charts and Awards > Billboard Singles". Allmusic. Rovi Corporation. Retrieved 2009-08-04.
References[edit]
Mann, Brent (2003). 99 Red Balloons...and 100 Other All-Time Great One-Hit Wonders. Citadel Press. ISBN 0-8065-2516-9.
Rettenmund, Matthew (1996). Totally awesome 80s: a lexicon of the music, videos, movies, TV shows, stars, and trends of that decadent decade. St. Martin's Press. ISBN 0-312-14436-9.
External links[edit]
"Voices Carry" video MTV
Video of MGMT playing "Voices Carry" at Bonnaroo
Retrieved from "https://en.wikipedia.org/w/index.php?title=Voices_Carry&oldid=804926130"
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Voices Carry (disambiguation)

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