Enlightenment, Continental

2018 ◽  
Author(s):  
Robert Wokler
Keyword(s):  
Eighteenth Century ◽  
The Political ◽  
Political Consequences ◽  
Arts And Sciences ◽  
The Enlightenment ◽  
Self Reliance ◽  
The Arts ◽  
History Of ◽  
Individual Self ◽  
History Of Western Civilization

The Enlightenment is frequently portrayed as a campaign on behalf of freedom and reason as against dogmatic faith and its sectarian and barbarous consequences in the history of Western civilization. Many commentators who subscribe to this view find the Enlightenment’s cosmopolitan opposition to priestly theology to be dangerously intolerant itself, too committed to uniform ideals of individual self-reliance without regard to community or diversity, or to recasting human nature in the light of science. Modern debates about the nature of the Enlightenment have their roots in eighteenth-century controversies about the arts and sciences and about ideas of progress and reason and the political consequences of promoting them. Even when they shared common objectives, eighteenth-century philosophers were seldom in agreement on substantive issues in epistemology or politics. If they were united at all, it was by virtue only of their collective scepticism in rejecting the universalist pretensions of uncritical theology and in expressing humanitarian revulsion at crimes committed in the name of sacred truth.

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.

A Cultural History of Memory in the Eighteenth Century

2020 ◽  
Keyword(s):  
Eighteenth Century ◽  
Cultural History ◽  
French Revolution ◽  
Collective Identity ◽  
Age Of Revolution ◽  
Arts And Sciences ◽  
The Arts ◽  
History Of ◽  
The Aesthetic

The Cultural History of Memory in the Eighteenth Century places in sharp relief the contrast between inspiring ideas that heralded an auspicious future and immemorial traditions that cherished a vanishing past. Waxing large during that era was the European Enlightenment, with its projects for reform and optimistic forecasts about the prospect of making a better world. Heritage was reframed, as martyrs for the cause of religious liberty and heroes for the promotion of the arts and sciences were enshrined in a new pantheon. They served as icons marking a pathway toward a presumed destiny, amid high hopes that reason would triumph over superstition to guide the course of human affairs. Such sentiments gave reformers a new sense of collective identity as an imagined community acting in the name of progress. Against this backdrop, this volume addresses a variety of themes in memory’s multi-faceted domain, among them mnemonic schemes in the transition from theist to scientific cosmologies; memory remodeled in the making of print culture; memory’s newfound resources for introspection; politics reimagined for the modern age; the nature of tradition reconceived; the aesthetics of nostalgia for an aristocracy clinging to a tenuous identity; the lure of far-away places; trauma in an age of revolution; and the emerging divide between history and collective memory. Along the way, contributors address such topics as the idea of nation in early modern politics; the aesthetic vision of Hubert Robert in his garden landscapes; the transforming effects of the interaction between mind and its mnemonic satellites in print media; Shakespeare remembered and commemorated; the role of memory in the redesign of historiography; the mediation of high and popular culture through literature; soul-searching in female autobiography; and commemorative practices during the French Revolution.

Hellenism in the Enlightenment

2009 ◽  
pp. 165-172 ◽  
Author(s):  
Paul Cartledge
Keyword(s):  
Eighteenth Century ◽  
French Revolution ◽  
European History ◽  
The Political ◽  
The Enlightenment ◽  
Political Traditions ◽  
History Of ◽  
The French Revolution

This article moves past the Renaissance to the Enlightenment and, in particular, to the French Revolution, which crystallized an important, if not fully understood, moment in the history of Hellenism. It shows how the writings of Jean-Jacques Rousseau, the inspiration for so many of the French revolutionaries, were simultaneously proto-democratic and pro-Spartan. In this respect, Rousseau marks a complex breakthrough in the political traditions of Hellenism, which were, for much of European history until the eighteenth century, anti-democratic and pro-Spartan.

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.

‹ 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.

Hooke recommemorated

1996 ◽  
Vol 50 (1) ◽  
pp. 139-140
Keyword(s):  
Social Life ◽  
Royal Society ◽  
Early Years ◽  
Domestic Life ◽  
Robert Hooke ◽  
Arts And Sciences ◽  
Personal Interaction ◽  
The Arts ◽  
Christ Church ◽  
History Of

Richard Nichols, The Diaries of Robert Hooke, The Leonardo of London, 1635-1703 . Lewes, Sussex: The Book Guild, 1994, Pp. 185, £15.00. ISBN 0- 86332-930-6. Richard Nichols is a science master turned historian of science who celebrates in this book Robert Hooke’s contributions to the arts and sciences. The appreciation brings together comments from Hooke’s Diaries , and other works, on each of his main enterprises, and on his personal interaction with each of his principal friends and foes. Further references to Hooke and his activities are drawn from Birch’s History of the Royal Society, Aubrey’s Brief Lives , and the Diaries of Evelyn and of Pepys. The first section of the book, ‘Hooke the Man’, covers his early years of education at home in Freshwater, at Westminster school and at Christ Church, Oxford, where he soon joined the group of experimental philosophers who set him up as Curator of the Royal Society and Professor of Geometry at Gresham College, Bishopsgate. Hooke’s domestic life at Gresham College is described - his intimate relationships with a series of housekeepers, including his niece, Grace Hooke, and his social life at the College and in the London coffee houses.

GEOGRAPHY, ENLIGHTENMENT, AND IMPROVEMENT Geography and Enlightenment. Edited by David N. Livingstone and Charles W. J. Withers. Chicago: University of Chicago Press, 1999. Pp. viii+455. ISBN 0-226-48720-2 (hb). $52·00. 0-226-48721-0 (pb). $25·00. Nature's government: science, imperial Britain, and the ‘improvement’ of the world. By Richard Drayton. New Haven and London: Yale University Press, 2000. Pp. xxi+346. ISBN 0-300-05976-0. £25·00. Enlightenment geography: the political languages of British geography, 1650–1850. By Robert J. Mayhew. London: Macmillan, 2000. Pp. viii+324. ISBN 0-333-79186-X. £45·00.

2002 ◽  
Vol 45 (1) ◽  
pp. 229-233 ◽  
Author(s):  
FELIX DRIVER
Keyword(s):  
History Of Ideas ◽  
The Political ◽  
New Haven ◽  
Yale University ◽  
Botanic Garden ◽  
The Enlightenment ◽  
Lecture Theatre ◽  
History Of ◽  
Historical Accounts ◽  
University Of Chicago Press

What is Enlightenment? Few questions in the history of ideas can have given rise to more controversy, sustained over more than two centuries and extending into the furthest reaches of contemporary thought. In comparison, the ‘where’ of Enlightenment – the sites from which philosophes garnered their evidence, the settings in which their ideas took shape, the networks through which they were disseminated, the contexts in which they were interpreted – has received much less attention. It is not that these geographies have been altogether neglected. Distinctions between different ‘national’ Enlightenments (French, Scottish, English, and so on) are familiar, perhaps all too familiar, to historians of the eighteenth and early nineteenth centuries. At a smaller scale, it is difficult to imagine historical accounts of the Enlightenment world without some sort of tour of those paradigmatic sites – the coffee house, the botanic garden, the lecture theatre. There is a geography here, of sorts: but in truth it is often simply a stage for action, a passive background (sometimes ‘national’, sometimes ‘local’) to the real business of social and intellectual change. In recent years, however, intellectual historians in general, and historians of science in particular, have begun to pay more attention to these and many other sites, not simply as inert contexts but as vital components of the making and communication of new knowledge. Thus is a genuine geography of knowledge in the making.

scholarly journals The political history of France in reflection of the national cinematography (1960s – 1970s)

2021 ◽  
pp. 94-103
Author(s):  
Aleksei Dmitrievich Medvedev
Keyword(s):  
Public Discourse ◽  
Political History ◽  
The Political ◽  
Political Consequences ◽  
Charles De Gaulle ◽  
Popular Films ◽  
Vichy Regime ◽  
History Of ◽  
The Military ◽  
De Gaulle

The goal of this research consists in determination of the place and role of French cinematography of 1960s – 1970s in the political history of postwar France. The object of this research is the process of transformation of political discourse in the context of transfer of power from Charles de Gaulle to Georges Pompidou. The subject of is reflection of the history of collaborationism in the films “Sadness and Pity” (1969) and “Lacombe Lucien” (1973). The author examines such aspect of the topic as reflection of the political and cultural elites on the Vichy regime. Special attention is given to the political consequences of the screening of films about collusion of the Nazi to French citizens. The scientific lies in the analytical overview of the popular films of French national cinematography of 1960s – 1970s, which interpret the phenomenon of “collaborationism” and “opposition" of the period of German occupation. As a result, it is proven that these films distorted the silence on collusion of a number of citizens to the occupier that prevailed in the French political and public discourse. The author notes that resign of Charles de Gaulle as the head of the French Republic led to the emergence of the products of popular culture that revise the previous interpretations of the military past and have a capacity to change the political situation in the country.

scholarly journals Ethnographic Memories

1969 ◽  
Vol 3 (1) ◽  
pp. 7-18
Author(s):  
Maxime Polleri
Keyword(s):  
Knowledge Production ◽  
Personal Knowledge ◽  
The Political ◽  
Historical Account ◽  
Politics Of Knowledge ◽  
The Enlightenment ◽  
Political Implications ◽  
History Of

This article explores the similarities between a memoir and an ethnographic work. A memoir stands as an historical account written from personal knowledge. It is a form of writing that should resonate deeply within the heart of the anthropologist, whose very own specificity is to be, first and foremost, an ethnographer. That is, anthropologists are individuals full of (hi) stories, contingence, and subjectivity, who nevertheless struggle to bring “objective” accounts of what had happened under their eyes during fieldwork. I use this short comparative act as a jumping board to examine the politics of knowledge in the history of anthropological inquiry since the Enlightenment. More precisely, this comparison represents an opportunity to look at what is silently invested in the practices of ethnographical writing. In a brief discussion, I highlight the political implications that surround issues of knowledge production, expert voices, and translation amidst the discourse and narrative of anthropologists.

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