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.

The Emotive Object in Medieval China

2019 ◽  
Vol 6 (1) ◽  
pp. 56-95
Author(s):  
Jeffrey Moser
Keyword(s):  
Cultural History ◽  
Common Ground ◽  
Conceptual Structures ◽  
The Arts ◽  
Medieval China ◽  
Northern Song ◽  
History Of ◽  
Philosophical Texts ◽  
The Aesthetic ◽  
Grave Goods

Abstract This article considers the emotional status of grave goods in medieval China. Its purpose is twofold. First, the author investigates the conceptual structures available for interpreting the emotional processes involved in medieval burials. He argues that it is possible, and indeed productive, to read grave goods as traces of emotional operations and, in so doing, to articulate a dimension of the embodied processes that structured and motivated wider developments in the social and cultural history of China. Second, the author demonstrates how sensory-based analyses of grave goods can elucidate intermediating processes among the conceptualization of emotion in philosophical texts, the representation of emotion in the literary and visual arts, and the actual experience of emotion in premodern China. Using the recently discovered cemetery of the Northern Song Lü family as a case study, he articulates the emotional function of the aesthetic appreciation that occurred when selecting objects for burial. In explaining the relationship between the sensorial affect of the grave goods and the family's commitment to the abstract ideal of sincerity, the author uses the concept of the emotive object to chart common ground for histories of thought and the arts in China.

scholarly journals Integrando História da Ciência e o lúdico: As experiências de Henri, o pupilo de Lavoisier

2018 ◽  
Vol 17 ◽  
pp. 99
Author(s):  
Victor Gomes Lima Ferraz ◽  
Fernanda Luiza De Faria ◽  
Flávia Ribas De Brito ◽  
Ingrid Nunes Derossi ◽  
Maria Helena Zambelli ◽  
...  
Keyword(s):  
Eighteenth Century ◽  
Science Teaching ◽  
History Of Science ◽  
French Revolution ◽  
Teaching Science ◽  
Women In Science ◽  
Conservation Of Mass ◽  
The Future ◽  
History Of

ResumoEste artigo aborda a utilização de um jogo virtual como recurso didático e as possibilidades de aplicação para o professor. Desse modo, apresentamos a narrativa central do jogo e alguns aspectos que permitem a discussão sobre a visão da ciência e do cientista, o papel da mulher na ciência, dentre outros. No jogo, o jogador é inserido no século XVIII, durante a Revolução Francesa, e é apresentado a Antoine Laurent Lavoisier e sua esposa. Ao longo da história o jogador é convidado a enfrentar alguns desafios que trabalham conceitos sobre a Lei da Conservação da Massa. A partir dessa discussão apresentamos alguns resultados da aplicação do jogo, onde observamos que os alunos conseguiram executar as atividades propostas sem dificuldades. Futuramente pretendemos disponibilizar o jogo para professores utilizarem esse recurso com seus alunos. Palavras-chave: História da Ciência; Ensino de Ciência.AbstractThis paper discusses the use of a virtual game as didactic resource and the possibilities of application for the teacher. In this way we present the central narrative of the game and some aspects that allow the discussion about the vision of science and the scientist, the role of women in science, among others. In the game, the player is inserted in the eighteenth century during the French Revolution, and is introduced to Antoine Laurent Lavoisier and his wife. Throughout history the player is invited to face some challenges that discusses some concepts on the law of conservation of mass. From this discussion we present some results of the application of the game, where we observed that the students were able to execute the proposed activities without difficulties. In the future we intend to make the game available for teachers to use this resource with their students.Keywords: History of Science; Teaching Science.

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.

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.

Sovereignties, Poetic and Otherwise

2016 ◽  
Author(s):  
Jaime Rodríguez Matos
Keyword(s):  
Cuban Revolution ◽  
The Political ◽  
Aesthetics And Politics ◽  
Age Of Revolution ◽  
Early Stages ◽  
Romantic Poetry ◽  
The Arts ◽  
History Of ◽  
Artistic Work

Chapter two traces the link between the Guerrilla or Foco in the early stages of the Cuban Revolution and the role of the dictation of the Muses in Romantic poetry. The chapter shows to what extent what is at issue is not simply a literary or aesthetic question, but the difficulty of confronting the void at the center of any politics. This void is not something that is offered as a motif by the arts, but the central evidence made available by the political upheavals in the Age of Revolution. Nevertheless, much of the intellectual, political, and artistic work that confronts that foundational abyss has no other aim than to cover it up. Thus, the central aim of the chapter is to bring into sharper focus the implications of a thought that is central to the history of modern aesthetics and politics, but which remains fundamentally occluded by that same archive.

LIVING THE ENLIGHTENMENT AND THE FRENCH REVOLUTION: JAMES WATT, MATTHEW BOULTON, AND THEIR SONS

1999 ◽  
Vol 42 (1) ◽  
pp. 157-182 ◽  
Author(s):  
PETER M. JONES
Keyword(s):  
Eighteenth Century ◽  
Cultural History ◽  
French Revolution ◽  
Steam Engine ◽  
The West ◽  
The Enlightenment ◽  
West Midlands ◽  
History Of ◽  
James Watt ◽  
Discrete Family

This article is a contribution to the cultural history of English Enlightenment. It examines the formation of a discrete ‘family’ of philosophes in the West Midlands who maintained close links with their counterparts on the continent. Birmingham's role as a magnet for ‘industrial tourists’ in the second half of the eighteenth century helped to propagate the influence of this local intelligentsia who were mostly members of the Lunar Society. None the less, it is argued that the activities of the Society correspond more closely to an Enlightenment than to a proto-industrial pattern of inquiry. The events of 1789 in France disrupted this philosophic ‘family’. Their impact is explored through the medium of a real family; that of James Watt, the engineer, who came to Birmingham to manufacture the steam engine in partnership with Matthew Boulton. The vicissitudes of the Watt family, and of other prominent members of the Lunar Society, are unravelled to illustrate the dilemmas faced by men raised in the values of the Enlightenment when confronted with the reality – and the proximity – of a far-reaching political revolution.

scholarly journals The Role of the Arts in the History of Emotions: Aesthetic Experience and Emotion as Method

2018 ◽  
Vol 2 (1) ◽  
pp. 113-131 ◽  
Author(s):  
Erin Sullivan
Keyword(s):  
Cultural History ◽  
Aesthetic Experience ◽  
History Of Emotions ◽  
Works Of Art ◽  
The Arts ◽  
History Of ◽  
Over Time

Abstract What role do the arts play in the study of the history of emotions? This essay reflects on the position that aesthetic works and arts-oriented methodologies have occupied in the field’s development since the early 2000s. It begins by connecting artistic sources to anxieties about impressionism within cultural history, before looking at examples from literature that help illustrate the advantages works of art can bring to the study of emotion over time. Chief among these benefits is the power of artistic sources to create emotional worlds for their audiences – including, of course, historians. Ultimately, in arguing for a greater use of aesthetic works in our field, the essay makes the case for a more overtly emotional history of the emotions.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

Conclusion

2018 ◽  
Author(s):  
Ildar Garipzanov
Keyword(s):  
Cultural History ◽  
Middle Ages ◽  
Late Antiquity ◽  
Western Europe ◽  
Dominant Role ◽  
Ninth Century ◽  
Sources Of Authority ◽  
History Of ◽  
Historical Periods

The concluding chapter highlights how the cultural history of graphic signs of authority in late antiquity and the early Middle Ages encapsulated the profound transformation of political culture in the Mediterranean and Europe from approximately the fourth to ninth centuries. It also reflects on the transcendent sources of authority in these historical periods, and the role of graphic signs in highlighting this connection. Finally, it warns that, despite the apparent dominant role of the sign of the cross and cruciform graphic devices in providing access to transcendent protection and support in ninth-century Western Europe, some people could still employ alternative graphic signs deriving from older occult traditions in their recourse to transcendent powers.

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