The Great Migration and Individual Travels: Precursors of Serbian Modernity?

2019 ◽  
pp. 150-169
Author(s):  
Dragana Grbić
Keyword(s):  
Eighteenth Century ◽  
Great Migration ◽  
The Balkans ◽  
The Enlightenment ◽  
South Slavs ◽  
The Great Migration ◽  
Early Eighteenth Century ◽  
Western European ◽  
European Thought

This chapter situates the travels of Dimitrije Dositej Obradović in the context of the late seventeenth- and early eighteenth-century Serbian Great Migration, which facilitated the dissemination of Western European thought throughout Serbia. Obradović’s travels typified this process. As a young man, he fled from a monastery and spent much of his life traveling through Germany, France, Italy, England and elsewhere in Europe. He paid his way by teaching languages, and when he returned home, he translated European works into the Serbian vernacular. His oeuvre brought the Enlightenment thought of Voltaire, Leibniz, and Kant to Serbian literature and introduced readers to the works of Fénelon, Rousseau, and Marmontel. Obradović’s writings, particularly his autobiography, not only shaped eighteenth-century Serbian culture, but also influenced South Slavs, Greeks, and Romanians in the Balkans. .

scholarly journals David Hume, the Académie des inscriptions and the Nature of Historical Evidence in the Early Eighteenth Century

2020 ◽  
pp. 1-24
Author(s):  
Pedro Faria
Keyword(s):  
Eighteenth Century ◽  
David Hume ◽  
Historical Writing ◽  
Historical Evidence ◽  
Historical Events ◽  
Common Experience ◽  
The Enlightenment ◽  
Early Eighteenth Century ◽  
Belles Lettres

Philosophical history became the Enlightenment genre of historical writing par excellence supposedly by “defeating” established humanist erudite history and antiquarianism. This article argues that, contrary to established perceptions, philosophical history developed out of a concern expressed by early eighteenth-century erudite historians about the nature of historical evidence: both David Hume—leading philosophical historian—and the members of the French erudite Académie des inscriptions et belles lettres shared a broadly Lockean approach to historical evidence, choosing verisimilitude to common experience as the key criterion of certainty. Indeed, Hume likely drew directly from the académiciens. Historical certainty is achieved, both sides concluded, by providing a verisimilar chain of causes of historical events, rather than mere lists of historical facts. Philosophical historians like Hume departed from the reformulated eighteenth-century version of erudite history by making causes the main object of history rather than merely a foundation of trustworthy factual accounts.

Some Aspects of Serbian Religious Development in the Eighteenth Century

1954 ◽  
Vol 23 (2) ◽  
pp. 144-152 ◽  
Author(s):  
Charles Jelavich
Keyword(s):  
Eighteenth Century ◽  
Balkan Peninsula ◽  
Radical Change ◽  
Religious Nationalism ◽  
Religious Development ◽  
Secondary Importance ◽  
The Balkans ◽  
Christian Churches ◽  
The Enlightenment ◽  
The Church

The eighteenth century was an era of conflict and radical change within the Serbian church. After the establishment of Ottoman control in the Balkan peninsula, the Serbian nation remained united solely by the bonds of the church. It was the center of life and the unchallenged leader of the community. However, in the eighteenth century new ideals and new loyalties emerged which threatened the position of predominance previously enjoyed by the church. Religious nationalism gradually gave way before secular nationalism as the ideas of the enlightenment took root among the Serbs living within the Habsburg empire, until by the end of the century the church as an instrument of national unification had been relegated to a position of secondary importance. Moreover, the change was the result not only of the absorption of western thought by the Serbian intellectuals, but also of the rivalries of the Christian churches in the Balkans, a conflict whose roots are to be found in this century.

scholarly journals Karlovac chant between tradition and innovation

2021 ◽  
pp. 207-223
Author(s):  
Dragan Askovic
Keyword(s):  
Necessary Conditions ◽  
Liturgical Music ◽  
The Balkans ◽  
Music Transcription ◽  
Musical Tradition ◽  
The Great Migration ◽  
Western European ◽  
Musical Achievement ◽  
Basic Characteristics ◽  
Musical Heritage

Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.

The roots and manifestations of conflicts in Medieval Europe

2021 ◽  
Vol 2021 (03) ◽  
pp. 47-65
Author(s):  
Sergey Rybakov
Keyword(s):  
Western Europe ◽  
The Political ◽  
Practical Implementation ◽  
Great Migration ◽  
Ethical Problems ◽  
Medieval Europe ◽  
The Great Migration ◽  
Mental Space ◽  
Religious Factors ◽  
Western European

The article examines the nature of conflicts in medieval Western Europe. It is noted that the roots of Western European conflicts go back to the time of the Great migration of peoples. Ethno-cultural and Church-religious factors that directly or indirectly influenced the course and nature of conflicts are considered. Projects of secular and ecclesiastical authorities aimed at ousting conflicts from the political and mental space of Western Europe are presented; legal, ethno-cultural, moral and ethical problems that did not allow achieving success in the practical implementation of these projects are identified.

Federalism in Yugoslavia

1955 ◽  
Vol 49 (2) ◽  
pp. 416-430 ◽  
Author(s):  
Joseph Frankel
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Bosnia And Herzegovina ◽  
Territorial Disputes ◽  
Political Consciousness ◽  
The South ◽  
The Balkans ◽  
Federal Constitution ◽  
South Slavs

Yugoslav federalism does not begin with the federal constitution adopted eight years ago. Federal ideas among the South Slavs followed the stirrings of nationalism and the struggle for independence at the end of the eighteenth and early in the nineteenth century as the logical solution for a situation in which the various tribes wished to be united but not unitary.With the exception of the Serbian Highlanders in Montenegro, who had been enjoying a precarious independence since 1697, the South Slav tribes were divided between the multi-national Ottoman and Hapsburg Empires. They generally showed little political consciousness either as separate tribes or as members of the Slav family. The first integrating movement among them began in the last three decades of the eighteenth century in the shape of vague Pan-Slav ideas stimulated by the Russian advance towards the Balkans. Pan-Slavism appealed both to many South Slav intellectuals and to the illiterate masses, but was too vague and too weak to counteract the various religious, linguistic, political, and historical differences among the tribes. Moreover, the relations between the three major tribes were disturbed by violent territorial disputes: Macedonia was the bone of contention between the Serbs and the Bulgarians, while Bosnia and Herzegovina were disputed by the Serbs and the Croats.

Oswald Spengler and the Theory of Historical Cycles

Antiquity ◽  
1927 ◽  
Vol 1 (3) ◽  
pp. 311-325 ◽  
Author(s):  
R. G. Collingwood
Keyword(s):  
Eighteenth Century ◽  
General Theory ◽  
The West ◽  
Long Period ◽  
History Of ◽  
The Subject ◽  
Early Eighteenth Century ◽  
Historical Cycles ◽  
European Thought ◽  
Complete History

Since Plato announced that the course of history returned upon itself in 72,000 years, since Polybius discerned a “circular movement” by which the history of states came back, over and over again, to the same point, the theory of historical cycles has been a commonplace of European thought. Familiar to the thinkers of the Renaissance, it was modified by Vico in the early eighteenth century and again by Hegel in the early nineteenth; and a complete history of the idea would show many curious transformations and cover a long period of time. Here no attempt will be made to summarize this story; the subject of the present paper is the latest and, to ourselves, most striking exposition of the general theory, contained in Dr Oswald Spengler’s Decline of the West.

scholarly journals The bay of Cattaro (Kotor) school of icon-painting 1680-1860

Balcanica ◽  
2014 ◽  
pp. 187-202
Author(s):  
Ljiljana Stosic
Keyword(s):  
Nineteenth Century ◽  
Bosnia And Herzegovina ◽  
Local Population ◽  
Great Migration ◽  
The South ◽  
Orthodox Christian ◽  
Baroque Art ◽  
Adriatic Coast ◽  
The Great Migration ◽  
Western European

Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijevic-Rafailovic family, accompanied by Maksim Tujkovic, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.

scholarly journals Hanswurst and Herr Ich: Subjection and Abjection in Enlightenment Censorship of the Comic Figure

2007 ◽  
Vol 23 (2) ◽  
pp. 124-135 ◽  
Author(s):  
Karen Jürs-Munby
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Political Power ◽  
Julia Kristeva ◽  
The Enlightenment ◽  
Theatre Studies ◽  
Historical Relationship ◽  
Early Eighteenth Century ◽  
The Aesthetic ◽  
Historical Movement

The well-known ‘banishment’ of the popular comic figure Hanswurst from the German stage by Gottsched and the Neuber acting troupe in the early eighteenth century is usually read as part of the historical movement from improvised folk theatre to bourgeois literary theatre. In this article Karen Jürs-Munby goes beyond that received wisdom to discuss what kind of acting, what kind of body, and what kind of relationship between stage and audience were censored by banishing Hanswurst. Considering this censorship as part of the larger historical relationship between discourses on acting and the emergence of a modern self in the Enlightenment, she argues that the osmotic body and stage that Hanswurst stood for prevented the aesthetic mirroring relationship sought by eighteenth-century stage reformers in an increasing need for bourgeois self-representation. The Hanswurst banishment can be theorized with reference to Julia Kristeva as an abjection of grotesque acting – a form of acting whose political power to question the autonomous bourgeois subject was to be rediscovered by practitioners in the twentieth century. Karen Jürs-Munby is a lecturer in Theatre Studies at Lancaster University; she has published articles on theories and discourses of acting in the eighteenth and twentieth centuries and recently translated Hans-Thies Lehmann's Postdramatic Theatre.

Marx in '71: The Heavenly City of the 20th-century Philosophers

Worldview ◽  
1972 ◽  
Vol 15 (1) ◽  
pp. 15-20
Author(s):  
Norman Birnbaum
Keyword(s):  
Eighteenth Century ◽  
20Th Century ◽  
Important Respect ◽  
Self Confidence ◽  
The Enlightenment ◽  
Western European ◽  
Heavenly City ◽  
The Revolution

My title comes, of course, from Carl Becker's poignant and ironic book on the Utopian thinkers of the Enlightenment. The poignancy in Becker's work came from his sympathy for their ideal of a society transformed, a mankind fulfilled. The irony came from his pained perception that these eighteenth-century thinkers had made things absurdly easy for themselves, by supposing that the order of nature—correctly understood—contained the code for a benign society, without ancient tyrannies and traditional terrors. The optimism and self-confidence of the Enlightenment have long since vanished. Anguish, even desperation, mark the writings of the contemporary heirs of the Enlightenment, the Western European Marxists. The revolution seems always to recede over the historical hbrizon. It is far too early for another Becker to record their chronicle. History may, in the end, show them to be at least as successful as their spiritual ancestors and perhaps more so. I wonder, however, whether they may be imitating the eighteenth-century in one important respect.

scholarly journals Towards the Question of Examination and Refined Attribution of Western European Paintings from the Collection of the Yekaterinburg Museum of Fine Art

2020 ◽  
Author(s):  
Olga Pichugina
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Fine Arts ◽  
17Th Century ◽  
Fine Art ◽  
Still Life ◽  
Central Focus ◽  
Early Eighteenth Century ◽  
Western European ◽  
West European

The article considers the issues of examination and attribution of artworks. The central focus is on the results of studies of four West European paintings from the collection of Yekaterinburg Museum of Fine Arts. The paper describes the results of technical and technological examination of Still Life with Broken Game and Watermelon, which was attributed in the process of studying the brushwork to Pietro Navarra, a little-known early eighteenth-century Roman artist. As a result of the search for attribution, the painting Eleazar and Rebekah, previously attributed to an unknown Italian master, was revealed to have connections with the work of seventeenth-century Neapolitan artist Andrea Malinkoniko. The painting The Death of Camilla, long considered to be the work of Carlo Chignani, has been re-attributed as The Death of Dido possibly by the mid-seventeenth-century Lombard artist Carlo Francesco Nuvolone. The painting Singing Actors is dated to the end of the seventeenth century and is attributed to the Roman master known by the pseudonym Pseudo Carocelli. Keywords: evaluation, attribution, Italian painting of the 17th century

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