The politics of classical allusion at the end of the eighteenth century: radical or redundant?

2010 ◽  
Vol 56 ◽  
pp. 95-139
Author(s):  
Matthew Hiscock
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Classical Tradition ◽  
Basic Question ◽  
Hellenistic Period ◽  
Basic Assumptions ◽  
Classical Reception ◽  
History Of ◽  
Stark Contrast

My epigraphs offer a stark contrast in their basic assumptions about the place of classical allusion in eighteenth century writing. The second, published only last year in a series devoted to classical reception, implies that allusion – whether conscious or unconscious – is always ‘significant’; the first, fifteen years old and from the first number of the International Journal of the Classical Tradition, suggests that it is largely incidental and superficial. To be fair to Kennedy, the passage quoted above comes from an abbreviated history of classicism from the Hellenistic period to the twentieth century which could not be expected to offer a nuanced account of the nature of classical allusion in the various periods it discusses; but the basic question remains: is classical allusion in the eighteenth century ornamental or essential?

3. The history of political thought and Marxism

2021 ◽  
pp. 31-50
Author(s):  
Richard Whatmore
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Working Class ◽  
Political Thought ◽  
Karl Marx ◽  
Historical Materialism ◽  
History Of Political Thought ◽  
Scientific Philosophy ◽  
History Of ◽  
Friedrich Engels

‘The history of political thought and Marxism’ focuses on Marxism, which became the most global and scientific philosophy in the twentieth century. An important figure here is Karl Marx, the outcast from Prussian Trier that famously contributed to the science of historical materialism. Marx’s The Condition of the Working Class in England justified revolution through a philosophy that emerged from reading European history. Marx, along with Friedrich Engels, accepted that the progress of commerce by the end of the eighteenth century made European states more powerful than others in history. Marx’s contemporaries believed that the study of societies in every stage of history is vital in understanding the future.

Introduction

2020 ◽  
pp. 1-147
Author(s):  
Stephen Menn ◽  
Justin E. H. Smith
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Early Modern ◽  
Detailed Analysis ◽  
The Political ◽  
Medical Philosophy ◽  
Archival Documents ◽  
History Of ◽  
Intellectual Context ◽  
Academic Dissertations

The life of Anton Wilhelm Amo is summarized, with close attention to the archival documents that establish key moments in his biography. Next the history of Amo’s reception is considered, from the first summaries of his work in German periodicals during his lifetime, through his legacy in African nationalist thought in the twentieth century. Then the political and intellectual context at Halle is addressed, considering the likely influence on Amo’s work of Halle Pietism, of the local currents of medical philosophy as represented by Friedrich Hoffmann, and of legal thought as represented by Christian Thomasius. The legacy of major early modern philosophers, such as René Descartes and G. W. Leibniz, is also considered, in the aim of understanding how Amo himself might have understood them and how they might have shaped his work. Next a detailed analysis of the conventions of academic dissertations and disputations in early eighteenth-century Germany is provided, in order to better understand how these conventions give shape to Amo’s published works. Finally, ancient and modern debates on action and passion and on sensation are investigated, providing key context for the summary of the principal arguments of Amo’s two treatises, which are summarized in the final section of the introduction.

Prologue

2021 ◽  
pp. 1-4
Author(s):  
Ashley Clements
Keyword(s):  
Classical Tradition ◽  
History Of Anthropology ◽  
The Real ◽  
Classical Reception ◽  
History Of

The prologue issues a challenge to all interested in the Classics to address the questions ‘Why does Classics matter now?’ and ‘What should it hope to contribute to the vital issues of our present?’ by exploring how the Classics have always been embroiled in anthropological conversations about our place in relation to others. The aim of the book they frame, they assert, is to highlight—ultimately in positive terms—the contingency of the Classics’ most profound (and often disastrous) conceptual heritage to us. The historical story of the place of the Classical tradition and Classics in anthropology, it claims, enlivens us to the real contribution the Classics might make now beyond the history of Classical reception and enjoins direct engagement with the question of why we need Classics now. This book’s story of the history of anthropology, it argues, tells us this: we need to do it in order to think beyond it.

The Raven and the Bust of Pallas: Classical Artifacts and the Gothic Tale

PMLA ◽  
1974 ◽  
Vol 89 (5) ◽  
pp. 960-966 ◽  
Author(s):  
Patricia Merivale
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Classical Tradition ◽  
Contemporary Poetry ◽  
Full Circle

Classical artifacts, particularly busts and statues, play an important part as image, symbol, plot element, or even character, in a large number of “Gothic” (i.e., romantic horror) contexts. Eighteenth-century neoclassicism provides “classically” serene artifacts to contrast with “Gothic” ones in, for instance, Poe and Hawthorne. But medieval tradition provides the Venus statue story, where the statue itself is the focus of Gothic horror, in Eichendorff, James, Merimee, Gautier, and others; this, especially in the subtler artist parables, is the key nineteenth-century usage. For the twentieth century, statues become “Dionysian,” classical yet fearful, as in Forster and Lagerkvist. More recently, statues represent a frivolous, melodramatic terror, or else mere emblematic pageantry. In contemporary poetry, however (Rilke, Plath, Seferis), the wheel has in a sense come full circle; classical statues are serious emblems of art and of the artist's obligation to put together the maimed and shattered fragments of a personal and “classical” tradition.

Gender and the historiography of science

1993 ◽  
Vol 26 (4) ◽  
pp. 469-483 ◽  
Author(s):  
Ludmilla Jordanova
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
History Of Science ◽  
Cambridge University ◽  
Historiography Of Science ◽  
Logical Reason ◽  
Big Picture ◽  
History Of ◽  
Theoretical Issues ◽  
Intellectual Maturity

The production of big pictures is arguably the most significant sign of the intellectual maturity of a field. It suggests both that the field's broad contours, refined over several generations of scholarship, enjoy the approval of practitioners, and that audiences exist with an interest in or need for overviews. The situation is somewhat more complicated in the history of science, since the existence of big historical pictures precedes that of a well-defined scholarly field by about two centuries. Broadly conceived histories of science and medicine were being written in the eighteenth century, when such an all-encompassing vision was central to the claims about the progress of knowledge upon which Enlightenment ideologues set such store. The Plato to Nato style histories, characteristic of the earlier twentieth century, were written largely by isolated pioneers, and while these were used in teaching as the field was becoming professionalized, recent scholars have preferred to concentrate on a monographic style of research. Despite the existence of the series started by Wiley, and now published by Cambridge University Press, it is only in the last ten years or so that more conscious attempts have been made to generate a big-picture literature informed by new scholarship. It is noteworthy that most of this is addressed to students and general readers, although there is no logical reason why it should not tackle major theoretical issues of concern to scholars. My point about maturity still holds, then, since as a designated discipline the history of science is rather new; it is still feeling out its relationship with cognate disciplines. Big-picture histories have an important role to play in these explorations since they make findings and ideas widely available and thereby offer material through which ambitious interpretations can be debated, modified and transformed.

scholarly journals Terra firma : contemporary representations of the South African landscape

2004 ◽  
Author(s):  
◽  
Clinton De Menezes
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
South African ◽  
Physical Space ◽  
Historical Overview ◽  
Terra Firma ◽  
The South ◽  
Post Colonial ◽  
History Of ◽  
Contemporary Practice

This research aims to critically investigate the changing colonial and post-colonial attitudes towards the South African landscape, as physical space and its representation, through a post-colonial and Post-Modern critique. Chapter One explores the shifting colonial attitudes toward the landscape from the middle of the eighteenth century to the middle of the twentieth century, to provide an historical overview and context for contemporary practice. Section One defines colonialism for the purposes of this study and provides a brief history of colonialism in South Africa. Section Two provides a concise history of European visual representation from the middle of the eighteenth century to the middle of the twentieth century in order to contextualize the development of South African landscape painting. Section Three analyzes and evaluates changing colonial attitudes and their representation through a discussion of the work of Francois Le Vaillant (1753-1842), Thomas Baines (1820-1875) and J.H. Pierneef (1886-1957). Chapter Two explores attitudes towards the South African landscape between 1948 and 1994 in order to provide a link between colonial representation and post-colonial contemporary practice.

scholarly journals Bel Canto - 500 Years Young: A study in the practical application of ​bel canto​ technique to twentieth-century vocal works in English

2021 ◽  
Author(s):  
◽  
Pasquale Orchard
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Mother Tongue ◽  
Bel Canto ◽  
Practical Application ◽  
Classical Singing ◽  
History Of ◽  
Potential Benefits ◽  
Vocal Works ◽  
Shed Light

<p>As a young singer, it is inevitable that one is bombarded with the history of singing. ​Not only are we asked to listen to vocalists of previous ages, but we are also encouraged to analyse their methods and scrutinise their seminal performances in order to better identify the strengths of each singer​. Curious about the extent to which the lauded seventeenth and eighteenth-century ​bel canto vocal techniques hold relevance to contemporary classical singing and newer compositions, my research focused on whether these well-tried techniques are transferable. While the application of ​bel canto principles to the ​bel canto repertoire are clearly pertinent, my investigation concentrated on the feasibility and applicability of transferring these vocal techniques to modern repertoire, specifically songs and arias written in English, my mother tongue. This exegesis details my exploration of the application of such techniques to these two different sets of repertoire, and aims to shed light on the experience of the process of applying the ​bel canto ​principles to such works, and the potential benefits afforded by the practice of them.</p>

A misleading source: the fortuna of a sixteenth-century engraving and its impact on the history of Roman baths studies

2019 ◽  
Vol 11 (3) ◽  
pp. 296-335
Author(s):  
Giacomo Savani
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
History Of ◽  
Roman Baths ◽  
Uncritical Acceptance ◽  
Roman Wall Painting ◽  
Intellectual Networks ◽  
Cutaway View

AbstractIn this article, I follow the mixed fortunes of a woodcut depicting a cutaway view of a set of ancient baths, so far neglected by modern scholarship. First published in a mid-sixteenth-century treatise on balneology and based on a misinterpretation of Vitruvius (5.10.1), it reappeared as a copy of a Roman wall-painting in several eighteenth-century antiquarian works. The remarkable resonance enjoyed by this image in specialist and popular publications until the early twentieth century makes it one of the most influential and controversial sources in the history of Roman baths studies. In exploring the reasons behind the enduring, uncritical acceptance of this depiction, I raise broader questions concerning the nature and extent of intellectual networks in eighteenth-century Europe.

Genius in France

2014 ◽  
Author(s):  
Ann Jefferson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural History ◽  
Medical Literature ◽  
The Self ◽  
Full Account ◽  
Wide Range ◽  
Realist Novels ◽  
History Of

This book spans three centuries to provide the first full account of the long and diverse history of genius in France. Exploring a wide range of examples from literature, philosophy, and history, as well as medicine, psychology, and journalism, the book examines the ways in which the idea of genius has been ceaselessly reflected on and redefined through its uses in these different contexts. The book traces its varying fortunes through the madness and imposture with which genius is often associated, and through the observations of those who determine its presence in others. The book considers the modern beginnings of genius in eighteenth-century aesthetics and the works of philosophes such as Diderot. It then investigates the nineteenth-century notion of national and collective genius, the self-appointed role of Romantic poets as misunderstood geniuses, the recurrent obsession with failed genius in the realist novels of writers like Balzac and Zola, the contested category of female genius, and the medical literature that viewed genius as a form of pathology. The book shows how twentieth-century views of genius narrowed through its association with IQ and child prodigies, and discusses the different ways major theorists—including Sartre, Barthes, Derrida, and Kristeva—have repudiated and subsequently revived the concept. The book brings a fresh approach to French intellectual and cultural history, and to the burgeoning field of genius studies.

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