Contested Nation. The Mapuche, Bandits and State Formation in Nine- teenth-Century Chile

Reseña del libro Contested Nation. The Mapuche, Bandits and State Formation in Nine- teenth-Century Chile, de Pilar M. Herr

Mark Antony and the date of the Inimitables. A remark on an edited text

A Greek inscription on stone found in Alexandria in the nine- teenth century and exhibited in the Alexandrian Greco-Roman Museum contains an unusual dedicatory text in honour of Mark Antony. The text was edited several times. It contains useful information which agrees with the passage of Plutarch on the lifestyle of Antony and Cleopatra, and their entourage. In this paper the author suggests the date 34–30 bc for the activity of the ‘Inimitables’ and adds a further commentary on the history of Antony and Cleopatra.

„…Glaubensgerechtigkeit“ Calvins Begründung der Reformation

“… Justification by faith” Calvin’s grounds for the Reformation ABSTRACT In 1539, at the young age of 30, Calvin wrote a letter to Cardinal Jacopo Sadoleto, an eminent scholar and proponent of the Roman Church, in answer to the latter’s letter earlier that year to Geneva. This answer of Calvin, as requested urgently by the City of Geneva, is very well-known for the way how Calvin refuted Sadoleto’s arguments against the Reformation and thus took up the cudgels for the very city that banned him only a year before. This Calvin did by justifying the quintessence of and necessity for the Reformation. Since then, this text has not only been known as one of the most famous defences of the principles of the Reformation of the six-teenth century but even has been described as probably the most powerful and sys-tematic successful apologetic Reformation writing of that age as such. In this article, Calvin’s analysis of the core of the Reformation is discussed against the background of his relation to Martin Luther and their appreciation for each other. According to Calvin the “heart” of the Reformation was justification by grace alone. Ultimately it is only a matter of faith in Christ alone. For his explanation of justification by grace and faith alone, Calvin refers consistently to Scripture as the Word of God. In this Chris-tological approach – for which Luther according to a witness expressed his apprecia-tion – Calvin and Luther are very close to each other indeed. Key concepts: Luther, Calvin, Sadoleto, justification, Reformation, grace alone, faith alone “… regverdigmaking deur die geloof” Calvyn se begronding van die Reformasie Opsomming Op die jong ouderdom van 30 skryf Calvyn in 1539 ’n brief aan Kardinaal Jacopo Sadoletus, beroemde geleerde en verteenwoordiger van die Roomse Kerk. Hierdie brief van Calvyn wat hy op die dringende smeekversoek van die stadsraad van Genève geskryf het, het hom baie roem laat inoes. Calvyn weerlê met hierdie skrywe Sadoletus se aanklagte teen die Reformasie en tree daarmee in die bresse vir die stad wat hom die jaar vantevore verban het. Daarby begrond hy die kern van die Reformasie en die noodsaak daarvoor. Sedertdien staan hierdie brief nie slegs bekend as een van die mees befaamde apologetiese geskrifte van die Reformasie nie maar is dit selfs beskryf as die mees kragtige en teologies suksesvolle verdediging daarvan in die sestiende eeu. In hierdie artikel word Calvyn se verklaring van die kern van die Reformasie bespreek teen die agtergrond van sy verhouding met Martin Luther en beide van hulle se respek vir mekaar. Volgens Calvyn is die hart van die Reformasie die regverdigmaking deur genade alleen. Dit gaan ten volle oor geloof in Christus alleen. Vir sy verklaring van die regverdigmaking deur genade en geloof alleen beroep Calvyn hom konsekwent op die Skrif as Woord van God. In hierdie Christologiese benadering – waarvoor Luther volgens ’n getuie waardering uitgespreek het – staan Calvyn en Luther dig bymekaar. Kernbegrippe: Luther, Calvyn, Sadoletus, regverdigmaking, Reformasie, genade alleen, geloof alleen

Luther‘s Legacy and the Origins of Kenotic Christology

The theological energies released by Martin Luther in 1517 created a set of theological insights and problems that eventually led to the development of kenotic Christology (i. e., the view that in order for the Son of God to become incarnate and live a genuinely human life, he emptied himself of his divine prerogatives or attributes). This article traces how kenotic Christology originated in the Eucharistic Controversy between Luther and Zwingli, before receiving its first extensive treatment in the debate between the Lutheran theologians of Tübingen and Giessen in,the early seventeenth century. Attention then turns to the nine-teenth century, when doctrinal tensions resulting from the enforced union of the Prussian Lutheran and Reformed churches created the conditions for a new flowering of kenotic Christology in the theologies of Ernst Sartorius and, subsequently, Gottfried Thomasius. Kenotic Christology ultimately originates with Luther, however, for it owes its existence to the creative theological energies he unleashed and which remain his lasting legacy.

Hearing through the théâtrophone: Sonically constructed spaces and embodied listening in the late nineteenth-century French theatre

This article presents a historical and theoretical reflection of the théâtrophone, a late nine- teenth-century telephone broadcast service that allowed users at a distance to listen in live to local theatre performances (spoken theatre, opera and musical concerts). Often cited as the first binaural experience in 1881, the théâtrophone’s much longer history as a subscription service, which operated in Paris from 1889 through the mid-1930s, is relatively unknown. This article considers what hearing through a théâtrophone meant to nineteenth- and twentieth- century users beyond its initial 1881 prototype. To hear through the théâtrophone means adopting a methodology mirroring the artefact itself: moving between social, professional, artistic, sensory registers. In doing so, the ways in which the théâtrophone was attuned to dis- course and practice emerge, as do more subtle processes involved in new nineteenth-century constructs of hearing and listening. Precisely the théâtrophone’s development is examined in relation to its particular social context: its installation on the spectacular Parisian boulevards and its relation to fin de siècle theatre culture. The article first investigates how theatrophonic listening was accorded to existent practices of theatre-going. Second, the article explores the more radical propositions of the théâtrophone in relation to important aesthetic and prac- tical changes occurring simultaneously in theatre culture. The théâtrophone’s virtual sonic experience multiplied the forms of a performance and its modalities of creation and recep- tion. Through accounts of ‘listening in’ the aspects of the new sonically constructed space are described, as are postures of early mediatised listening. The article posits that new modalities of listening are articulated through the théâtrophone, with certain users, including Proust, defining it as a monitoring and creative tool. In this capacity, ‘theatrophonic’ listening contrib- uted to the development of a refined ear, capable of detecting sonic nuance, which was central to artistic sensibilities at the time.

The national-dynastic monument in the Kingdom of Serbia the monument to Prince Milos Obrenovic in Pozarevac as a case study

The monument to Prince Milos Obrenovic unveiled in 1898 embodied the concept of national-dynastic monument in the Kingdom of Serbia at the end of the nine?teenth century. The statue in the manner of academic art by Djordje Jovanovic, a prominent Serbian sculptor, may be seen as a creative transfer of European practices in designing majestic monuments to rulers. Set up in downtown Pozarevac, the monument to Prince Milos was intended to act as a place of collective remembrance and a means of legitimation of King Alexander Obrenovic. Forming part of the process of constructing the cult of Prince Milos, the monument may be seen as a visual testimony to the attempt of the shaken dynastic regime to define its own ideological model by using the image of its charismatic founder. The unveiling ceremony, pervaded with a military spirit, confirmed the place of the Pozarevac visual topos on the map of patriotic geography, pointing to the power of the visual work in the system of the representative culture of the state and the nation in the late nineteenth century.