REVIEW: Moshe Pelli. THE ETERNAL MASKI: THE AGE OF HASKALAH: STUDIES IN HEBREW LITERATURE OF THE ENLIGHTENMENT IN GERMANY. Studies in Judaism in Modern Times, vol. 5. and Moshe Pelli. BEMAAVKEI TEMURAH: IYUNIM BAHASKALAH HAIVRIT BEGERMANYAH BESHILHEI HAMEAH HAYUD HET [STRUGGLE FOR CHANGE: STUDIES IN THE HEBREW ENLIGHTENMENT IN GERMANY AT THE END OF THE EIGHTEENTH CENTURY]. and Moshe Pelli. DOR HAMEASFIM BESHAHAR HAHASKALAH [THE CIRCLE OF HAMEASEF WRITERS AT THE DAWN OF THE HASKALAH]. and Moshe Pelli. MOSHEH MENDELSSOHN: BEKHAVLEI MASORET [MOSES MENDELSSOHN: CHAINS OF TRADITION]. and Moshe Pelli. SHAAR LAHASKALAH: MAFTEAH MUAR LEHAMEASEF, KTAV HAET HAIVRI HARISHON [THE GATE TO HASKALAH: AN ANNOTATED INDEX TO HAMEASEF, THE FIRST HEBREW JOURNAL]. and Moshe Pelli. SUGOT VESUGYOT BESIFRUT HAHASKALAH HAIVRIT: HAGANER HAMASKILI VAAVIZAREIHU [KINDS OF GENRE IN HASKALAH LITERATURE: TYPES AND TOPICS].

Prooftexts ◽  
2003 ◽  
Vol 23 (2) ◽  
pp. 228
Author(s):  
Rabin
Keyword(s):  
Eighteenth Century ◽  
Hebrew Literature ◽  
Modern Times ◽  
Moses Mendelssohn ◽  
The Enlightenment

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

Two Revolutions: France 1789 and Mexico 1810

1990 ◽  
Vol 47 (2) ◽  
pp. 161-176 ◽  
Author(s):  
Jaime E. Rodríguez O.
Keyword(s):  
Eighteenth Century ◽  
North Atlantic ◽  
The United States ◽  
Spanish American ◽  
Early Nineteenth Century ◽  
Modern Times ◽  
The North ◽  
The Enlightenment ◽  
Global Vision ◽  
The Rich

It is sometimes alleged that “history is written by the victors.” Perhaps, it is more accurate to say that “history is written by the rich.” The wealthy nations of the North Atlantic world, which have tended to dominate scholarship in modern times, have molded events in their own image. Thus, when considering the eighteenth century transformations, scholars with “global” vision such as Peter Gay, Jacques Godechot, and R.R. Palmer have interpreted the “Enlightenment” and the “Age of Democratic Revolutions” broadly, including both the experience of the United States and of select Western European nations. Yet these cosmopolitan scholars find no place for Spain or Latin America in their works. Gay describes Spain as the “other side of the eighteenth century,” while both Godechot and Palmer end the age of revolutions in 1799, thus excluding the Spanish and the Spanish American revolutions which occurred in the early nineteenth century.

Religious Themes in Contemporary Art

2021 ◽  
pp. 242-272
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

The “New Empire of Common Sense”

2018 ◽  
Author(s):  
Paul B. Wood
Keyword(s):  
Eighteenth Century ◽  
Common Sense ◽  
Atlantic World ◽  
Thomas Reid ◽  
The Enlightenment ◽  
Joseph Priestley ◽  
Common Sense Philosophy

Although the rise of Scottish common sense philosophy was one of the most important intellectual developments of the Enlightenment, significant gaps remain in our understanding of the reception of Scottish common sense philosophy in the Atlantic world during the second half of the eighteenth century. This chapter focuses on the British context in the period 1764–93, and examines published responses to James Oswald, James Beattie, and, especially, Thomas Reid. The chapter contextualizes the polemics of Joseph Priestley against the three Scots and argues that it was Joseph Berington rather than Priestley who was the first critic to claim that the appeal to common sense was the defining feature of “the Scotch school” of philosophy. It also shows that Reid was widely acknowledged to be the founder and most accomplished exponent of the “school”, whereas Beattie and Oswald were typically dismissed as being derivative thinkers.

Reading Herem from the Dawn of the Enlightenment until Today

2018 ◽  
Author(s):  
Christian Hofreiter
Keyword(s):  
Divine Command ◽  
Critical Research ◽  
Modern Times ◽  
The Enlightenment ◽  
Modern Period

This chapter reviews more recent examples of the reception of herem texts and demonstrates that many if not all of the ancient and medieval approaches to reading herem as Christian scripture continue to have their adepts in modern times: largely uncritical readings (K. Barth), devotional–allegorical interpretations, and violent uses. Many of the moral criticisms also continue to be restated (M. Tindal). Responses to these criticisms sometimes follow a traditional, divine command ethics structure (R. Swinburne) or attempts are made to combine a divine command ethics with the concepts of accommodation and progressive revelation (E. Stump). Yet other approaches bring to bear the categories of myth, metaphor and hyperbole (D. Earl, W. Moberly, N. MacDonald, K. Lawson Younger, N. Wolterstorff). Perhaps the most significant innovation of the modern period is the combination of historical–critical research with an attempt to read herem as Christian scripture (E. Seibert, P. Jenkins).

Classical Learning in Britain, France, and the Dutch Republic, 1690-1750

2020 ◽  
Author(s):  
Floris Verhaart
Keyword(s):  
Eighteenth Century ◽  
Ancient Greece ◽  
Classical Antiquity ◽  
General Point ◽  
Classical Literature ◽  
Sources Of Information ◽  
Literary Value ◽  
Age Of Reason ◽  
Renaissance Humanism ◽  
The Enlightenment

The Quarrel of the Ancients and the Moderns in the late seventeenth and early eighteenth centuries was a moment when scholars and thinkers across Europe reflected on how they saw their relationship with the past, especially classical antiquity. Many readers in the Renaissance had appreciated the writings of ancient Latin and Greek authors not just for their literary value, but also as important sources of information that could be usefully applied in their own age. By the late seventeenth century, however, it was felt that the authority of the ancients was no longer needed and that their knowledge had become outdated thanks to scientific discoveries as well as the new paradigms of rationalism and empiricism. Those working on the ancient past and its literature debated new ways of defending their relevance for society. The different approaches to classical literature defended in these debates explain how the writings of ancient Greece and Rome could become a vital part of eighteenth-century culture and political thinking. Through its analysis of the debates on the value of the classics for the eighteenth century, this book also makes a more general point on the Enlightenment. Although often seen as an age of reason and modernity, the Enlightenment in Europe continuously looked back for inspiration from preceding traditions and ages such as Renaissance humanism and classical antiquity. Finally, the pressure on scholars in the eighteenth century to popularize their work and be seen as contributing to society is a parallel for our own time in which the value of the humanities is a continuous topic of debate.

‹ Rococo › : du jargon à la catégorie de style

2017 ◽  
Vol 80 (4) ◽  
pp. 474-487
Author(s):  
Marie-Pauline Martin
Keyword(s):  
Eighteenth Century ◽  
The Enlightenment ◽  
History Of ◽  
Louis Xvi ◽  
Definition Of ◽  
Louis Xv ◽  
Objective Existence

Abstract Today there is a consensus on the definition of the term ‘rococo’: it designates a style both particular and homogeneous, artistically related to the reigns of Louis XV and Louis XVI. But we must not forget that in its primitive formulations, the rococo has no objective existence. As a witty, sneering, and impertinent word, it can adapt itself to the most varied discourses and needs, far beyond references to the eighteenth century. Its malleability guarantees its sparkling success in different languages, but also its highly contradictory uses. By tracing the genealogy of the word ‘rococo’, this article will show that the association of the term with the century of Louis XV is a form of historical discrimination that still prevails widely in the history of the art of the Enlightenment.

THE “HARD FORM” OF SCULPTURE: MARBLE, MATTER AND SPIRIT IN EUROPEAN SCULPTURE FROM THE ENLIGHTENMENT THROUGH ROMANTICISM

2008 ◽  
Vol 5 (3) ◽  
pp. 455-486 ◽  
Author(s):  
LINDA WALSH
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Early Nineteenth Century ◽  
External Appearance ◽  
The Enlightenment ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Familiar World ◽  
A Site ◽  
Aesthetic Values

The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to the observable, familiar world, while neoclassicism was too wedded to notions of clearly defined forms. This article explores sculptural practice and theory at this time as a site of complex debates around the medium's potential for specific concrete representation in a context of competing Romantic visions (ethereal, social and commercial) of modernity.

The Smugglers' Trade: A Neglected Aspect of English Commercial Development

1952 ◽  
Vol 2 ◽  
pp. 131-157 ◽  
Author(s):  
G. D. Ramsay
Keyword(s):  
Eighteenth Century ◽  
Foreign Trade ◽  
Free Trade ◽  
Technical Skill ◽  
The Other ◽  
Raw Material ◽  
Commercial Development ◽  
Illicit Trade ◽  
Modern Times ◽  
Victorian Age

Some share—fluctuating and uncertain, but assuredly significant—of English foreign trade in modern times is to be credited to smugglers, who were ever busy in evading customs regulations and prohibitions. Mere administrative watchfulness and thoroughness could never do more than damp their activities; it was only the triumph of free trade in the early Victorian age that deprived them of their livelihood, and until then they were able to match by increase of cunning and of organization the ever more elaborate network of the customs system—its spies, its coastguards and its cutters as well as its routine officials at the ports. The smuggler flourished right down to the end of the period of protection, despite sporadic seizures by the revenue officers. In the first half of the nineteenth century, French wines, brandies and luxury textiles were being punctually shipped across the Channel in the teeth of prohibitions. In the other direction, we know, for instance, of the existence in the same period of so remarkable á phenomenon as the muslin manufacture of Tarare, near Lyons, which relied for its raw material upon the assured supply of English yarn owled abroad. But it was probably the eighteenth century, when customs regulations were at their most burdensome and complicated, that marked the classic epoch of illicit trade, the period in which the technical skill of both breakers and defenders of the law might earn the highest rewards.

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