On Portuguese Medical Students and Masters Travelling Abroad: An Overview from the Early Modern Period to the Enlightenment

2016 ◽  
pp. 141-162
Author(s):  
Richard Viladesau

This work surveys the ways in which theologians, artists, and composers of the early modern period dealt with the passion and death of Christ. The fourth volume in a series, it locates the theology of the cross in the context of modern thought, beginning with the Enlightenment, which challenged traditional Christian notions of salvation and of Christ himself. It shows how new models of salvation were proposed by liberal theology, replacing the older “satisfaction” model with theories of Christ as bringer of God’s spirit and as social revolutionary. It shows how the arts during this period both preserved the classical tradition and responded to innovations in theology and in style.


2009 ◽  
Vol 17 (1) ◽  
pp. 31-59 ◽  
Author(s):  
Henry Heller

AbstractBeginning with Engels, Marxist historiography viewed the absolute monarchy in France as mediating between the nobility and the emergent capitalist bourgeoisie. More recent Marxist accounts stress that the absolute monarchy reflected the interests of the nobility. Revisionist Marxist historians have taken this perspective to an extreme arguing that, at the height of the Bourbon monarchy in the seventeenth century, a capitalist bourgeoisie did not exist. This paper argues that, in taking such a view, these historians have ignored the ongoing dialectical opposition between the forces of rent and profit in the early-modern period. As a result, they have severed the connection between the ancien régime and the Revolution of 1789. Despite being thrown on the defensive by the advance of rent and the crystallisation of the absolutist state, a capitalist bourgeoisie that emerged in sixteenth-century France survived and persevered during the seventeenth century. It resumed the initiative in the succeeding period of the Enlightenment.


Author(s):  
Paul Gilroy

Modernity is a notion widely debated, whether it is the periodization of modernity or the attributes defining the modern period. Jürgen Habermas situates the Enlightenment as a moment of critique of the early-modern period and the reimagining of modernity after the Age of Reason. This chapter argues that Habermas’s call for completing the unfinished project of the Enlightenment fails to acknowledge the defining moment of modernity—New World slavery—and the agents of the modernizing process—the slaves. The chapter investigates the dynamics of mastery and slavery that are at the center of modernity through close examination of Frederick Douglass’s only work of fiction, The Heroic Slave (1853), supplemented with references to “The Claims of the Negro Ethnologically Considered” (1854) and Douglass’s slave narratives. The memory of slavery, the chapter contends, is integral to theorizations of freedom.


2020 ◽  
pp. 204-216
Author(s):  
Raf Van Rooy

Chapter 16 discusses further evidence for the systematization and rationalization of the language / dialect distinction in the period 1650–1800, the age of rationalism and the Enlightenment. On the one hand, a kind of dialectological tradition emerged. The study of regional variation became a subfield of philology, albeit never an autonomous one; occasionally, it even now received the label of dialectologia, apparently introduced in 1650. For the first time, philologists presented dissertations on dialectal diversity that were no longer exclusively focused on the Greek dialects. On the other hand, scholars adopted more rational attitudes towards the conceptual pair. Some chose to supplement the binary contrast with new concepts. Others advocated distinguishing more clearly between different interpretations of the language / dialect distinction. Confusion persisted, however, throughout the early modern period. The first vocal sceptic of the conceptual pair was Friedrich Carl Fulda, who made it painfully clear how arbitrary and imprecise the distinction actually was.


Author(s):  
Gary Waller

This chapter provides a cultural rather than a theological reading of the Annunciation story, locating it historically from its beginnings in Luke to the pre-Enlightenment, and then, by interrogating that history, speculating about why for a millennium and a half (and beyond), the Gospel’s story of Gabriel’s appearance to Mary (Luke 1: 26–38) has had such a powerful hold over the Western imagination. The early modern period saw the discovery of multiple versions of the Annunciation story, and from Ersamus onwards, the emergence of critical history calling into question the historicity of the Gospel accounts.


2011 ◽  
Vol 1 (2) ◽  
pp. 12-13
Author(s):  
Virpi Luoma

This essay brings out the cultural encounters which characterise the Enlightenment and the contemporary situation. The Enlightenment was an era when cultural encounters were on the rise, but it was also a time when racist attitudes were acceptable. This essay suggests, from a young history student's point of view, how we should deal with contemporary racism and cultural encounters and how can we critically view the racial attitudes which were characteristic of the early modern period.


Author(s):  
Stephen Gaukroger ◽  
Knox Peden

French Philosophy: A Very Short Introduction outlines the history of French philosophy, summarising important thinkers and texts. Philosophy has played a significant role in French culture since the early modern period, and French philosophy has influenced the Western world for centuries. The Enlightenment was central to the relationship between philosophy and politics. Nineteenth-century French philosophy was focused on ideas of science and progress. In the twentieth century, existentialist ideas took hold, followed by an embrace of structuralism which led to post-structuralism and deconstruction. French philosophy is interwoven with political, literary, and scientific debates of the time, and ongoing conflicts between religious and secular beliefs.


2017 ◽  
Vol 86 (2) ◽  
pp. 339-364
Author(s):  
Peter Harrison

Tertullian is widely regarded as having originated the expressionCredo quia absurdum (est)(I believe because it is absurd) and the phrase often appears in contemporary polemics about the rationality of religious belief. Patristic scholars have long pointed out that Tertullian never said this or meant anything like it. However, little scholarly attention has been paid to the circumstances in which this specific phrase came into existence and why, in spite of its dubious provenance, it continues to be regarded by many as a legitimate characterization of religious faith. This paper shows how Tertullian's original expression—“It is certain, because impossible”—was first misrepresented and modified in the early modern period. In seventeenth century England a “credo” version—I believebecause it is impossible—became the common form of Tertullian's maxim. A further modification, building on the first, was effected by the EnlightenmentphilosopheVoltaire, who added the “absurdity condition” and gave us the modern version of the paradox: I believebecause it is absurd. These modifications played a significant role in Enlightenment representations of religion as irrational, and signal the beginning of a new understanding of faith as an epistemic vice. This doubtful maxim continues to play a role in debates about the cognitive status of religious faith, and its failure to succumb to the historical evidence against it is owing to its ongoing rhetorical usefulness in such debates.


2019 ◽  
Vol 23 (1) ◽  
pp. 86-122
Author(s):  
Björn Moll

Abstract This article focusses on the discourse surrounding ›projectors‹, autoentrepeneurs, who made plans for innovations of any kind and tried to have potential financiers promote them, from the Baroque to German Romanticism. While the role of projectors in the history of science has been the object of historical study, there is a lack of research regarding the concept’s trajectory and its semantic variation. In the early modern period, the necessity of innovation was emphasized, but also the contingency of project proposals. During the Enlightenment, the tradition of the approval of project-making continued, but projects became detached from projectors. In the late 18th century, the idea of speculation and the fantastic transformed within the area of creativity, due to the primacy of imagination and genius. What happened to the talk about projectors and their ways of self-fashioning after the disappearance of the social figure? What enabled authors to refer to projectors and how was their role historically discussed? Projectors served as a topos of insanity or deception or a sign of unprofessionalism (as shown in examples by Goethe and Schiller). Romanticism carried with it the positive connotations of the project, but also reinterpreted its negative aspects, such as the value of incompletion, insanity and alternative ways of work.


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