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Editor:
Ovanes Akopyan
If the universe were conceived to fulfill a certain divine plan or to manifest God’s will and glory, what would the place of an individual be within this plan? What is more, if, from the very beginning of its existence and through divine providence, it were predestined to be driven toward a certain end, how could people adjust their individual lives to the incognizable universal design and react to the obscure future fraught with both luck and failure?
These questions, which have bothered humanity for centuries, formed a remarkable element of early modern European thought. This collection of essays presents new insights into what shaped and constituted reflections on fate and fortune between, roughly, 1400 and 1650, both in word and image. This volume argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, geographically and thematically, than hitherto assumed.
Contributors are: Damiano Acciarino, Elisabeth Blum, Paul Richard Blum, Jo Coture, Guido Giglioni, Dalia Judovitz, Sophie Raux, Orlando Reade, and John Sellars.
These questions, which have bothered humanity for centuries, formed a remarkable element of early modern European thought. This collection of essays presents new insights into what shaped and constituted reflections on fate and fortune between, roughly, 1400 and 1650, both in word and image. This volume argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, geographically and thematically, than hitherto assumed.
Contributors are: Damiano Acciarino, Elisabeth Blum, Paul Richard Blum, Jo Coture, Guido Giglioni, Dalia Judovitz, Sophie Raux, Orlando Reade, and John Sellars.
Editor:
Ovanes Akopyan
If the universe were conceived to fulfill a certain divine plan or to manifest God’s will and glory, what would the place of an individual be within this plan? What is more, if, from the very beginning of its existence and through divine providence, it were predestined to be driven toward a certain end, how could people adjust their individual lives to the incognizable universal design and react to the obscure future fraught with both luck and failure?
These questions, which have bothered humanity for centuries, formed a remarkable element of early modern European thought. This collection of essays presents new insights into what shaped and constituted reflections on fate and fortune between, roughly, 1400 and 1650, both in word and image. This volume argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, geographically and thematically, than hitherto assumed.
Contributors are: Damiano Acciarino, Elisabeth Blum, Paul Richard Blum, Jo Coture, Guido Giglioni, Dalia Judovitz, Sophie Raux, Orlando Reade, and John Sellars.
These questions, which have bothered humanity for centuries, formed a remarkable element of early modern European thought. This collection of essays presents new insights into what shaped and constituted reflections on fate and fortune between, roughly, 1400 and 1650, both in word and image. This volume argues that these ideas were emblematic of a more fundamental argument about the self, society, and the universe and shows that their influence was more widespread, geographically and thematically, than hitherto assumed.
Contributors are: Damiano Acciarino, Elisabeth Blum, Paul Richard Blum, Jo Coture, Guido Giglioni, Dalia Judovitz, Sophie Raux, Orlando Reade, and John Sellars.
Dans
Racine et les trois publics de l’amour Delphine Calle analyse la séduction du théâtre racinien à partir des débats sur les passions du XVIIe siècle français. Concupiscence ou pur amour, amour-propre ou désir de plaire, l’amour est au cœur de la tragédie racinienne : moteur de l’action tragique, il émeut le public. Celui-ci est triple : le protagoniste amoureux est non seulement scruté par les spectateurs dans la salle, passionnés par la passion, il s’expose devant le personnage qu’il aime et paraît devant le tribunal de sa propre conscience. À l’instar des moralistes du XVIIe siècle, grands censeurs du théâtre, ce livre établit le parallèle entre les expériences amoureuse et théâtrale, pour mieux percer la dramaturgie de l’amour chez Racine.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
Series:
Faux Titre, Volume: 449
Dans
Racine et les trois publics de l’amour Delphine Calle analyse la séduction du théâtre racinien à partir des débats sur les passions du XVIIe siècle français. Concupiscence ou pur amour, amour-propre ou désir de plaire, l’amour est au cœur de la tragédie racinienne : moteur de l’action tragique, il émeut le public. Celui-ci est triple : le protagoniste amoureux est non seulement scruté par les spectateurs dans la salle, passionnés par la passion, il s’expose devant le personnage qu’il aime et paraît devant le tribunal de sa propre conscience. À l’instar des moralistes du XVIIe siècle, grands censeurs du théâtre, ce livre établit le parallèle entre les expériences amoureuse et théâtrale, pour mieux percer la dramaturgie de l’amour chez Racine.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
Over the past few decades, a growing number of studies have highlighted the importance of the ‘School of Salamanca’ for the emergence of colonial normative regimes and the formation of a language of normativity on a global scale. According to this influential account, American and Asian actors usually appear as passive recipients of normative knowledge produced in Europe. This book proposes a different perspective and shows, through a knowledge historical approach and several case studies, that the School of Salamanca has to be considered both an epistemic community and a community of practice that cannot be fixed to any individual place. Instead, the School of Salamanca encompassed a variety of different sites and actors throughout the world and thus represents a case of global knowledge production.
Contributors are: Adriana Álvarez, Virginia Aspe, Marya Camacho, Natalie Cobo, Thomas Duve, José Luis Egío, Dolors Folch, Enrique González González, Lidia Lanza, Esteban Llamosas, Osvaldo R. Moutin, and Marco Toste.
Contributors are: Adriana Álvarez, Virginia Aspe, Marya Camacho, Natalie Cobo, Thomas Duve, José Luis Egío, Dolors Folch, Enrique González González, Lidia Lanza, Esteban Llamosas, Osvaldo R. Moutin, and Marco Toste.
Over the past few decades, a growing number of studies have highlighted the importance of the ‘School of Salamanca’ for the emergence of colonial normative regimes and the formation of a language of normativity on a global scale. According to this influential account, American and Asian actors usually appear as passive recipients of normative knowledge produced in Europe. This book proposes a different perspective and shows, through a knowledge historical approach and several case studies, that the School of Salamanca has to be considered both an epistemic community and a community of practice that cannot be fixed to any individual place. Instead, the School of Salamanca encompassed a variety of different sites and actors throughout the world and thus represents a case of global knowledge production.
Contributors are: Adriana Álvarez, Virginia Aspe, Marya Camacho, Natalie Cobo, Thomas Duve, José Luis Egío, Dolors Folch, Enrique González González, Lidia Lanza, Esteban Llamosas, Osvaldo R. Moutin, and Marco Toste.
Contributors are: Adriana Álvarez, Virginia Aspe, Marya Camacho, Natalie Cobo, Thomas Duve, José Luis Egío, Dolors Folch, Enrique González González, Lidia Lanza, Esteban Llamosas, Osvaldo R. Moutin, and Marco Toste.
Zitat und skeptische Poetik bei Michel de Montaigne und Pierre Bayle
Wie verhält sich das Verwenden von Worten anderer im Modus des Zitats zum Denken und zur Form eines skeptischen Diskurses in der französischen Spätrenaissance und Frühaufklärung?
Montaignes emprunts der humanistischen Gelehrsamkeit sind zentraler Bestandteil der Poetik seiner Essais; seine charakteristische peinture de passage orchestriert einen Wechsel der Stimmen innerhalb seines großen humanistischen Selbstportraits. Zitieren – avant la lettre, da Montaigne noch nicht über den Begriff und die Konvention verfügt – wird zum formalen Mittel eines skeptischen Schreibens, das die Dinge in der Schwebe halten will. Bayle greift diese Technik in seiner „Rüstkammer der Aufklärung“ auf, um sie mit den Mitteln der bibliographischen Akribie neu zu gestalten; nunmehr auf den Begriff gebracht, wird Zitieren zum kritischen modus operandi einer skeptischen Erschütterung des historischen Bestands der philosophischen Tradition.
Montaignes emprunts der humanistischen Gelehrsamkeit sind zentraler Bestandteil der Poetik seiner Essais; seine charakteristische peinture de passage orchestriert einen Wechsel der Stimmen innerhalb seines großen humanistischen Selbstportraits. Zitieren – avant la lettre, da Montaigne noch nicht über den Begriff und die Konvention verfügt – wird zum formalen Mittel eines skeptischen Schreibens, das die Dinge in der Schwebe halten will. Bayle greift diese Technik in seiner „Rüstkammer der Aufklärung“ auf, um sie mit den Mitteln der bibliographischen Akribie neu zu gestalten; nunmehr auf den Begriff gebracht, wird Zitieren zum kritischen modus operandi einer skeptischen Erschütterung des historischen Bestands der philosophischen Tradition.
Zitat und skeptische Poetik bei Michel de Montaigne und Pierre Bayle
Wie verhält sich das Verwenden von Worten anderer im Modus des Zitats zum Denken und zur Form eines skeptischen Diskurses in der französischen Spätrenaissance und Frühaufklärung?
Montaignes emprunts der humanistischen Gelehrsamkeit sind zentraler Bestandteil der Poetik seiner Essais; seine charakteristische peinture de passage orchestriert einen Wechsel der Stimmen innerhalb seines großen humanistischen Selbstportraits. Zitieren – avant la lettre, da Montaigne noch nicht über den Begriff und die Konvention verfügt – wird zum formalen Mittel eines skeptischen Schreibens, das die Dinge in der Schwebe halten will. Bayle greift diese Technik in seiner „Rüstkammer der Aufklärung“ auf, um sie mit den Mitteln der bibliographischen Akribie neu zu gestalten; nunmehr auf den Begriff gebracht, wird Zitieren zum kritischen modus operandi einer skeptischen Erschütterung des historischen Bestands der philosophischen Tradition.
Montaignes emprunts der humanistischen Gelehrsamkeit sind zentraler Bestandteil der Poetik seiner Essais; seine charakteristische peinture de passage orchestriert einen Wechsel der Stimmen innerhalb seines großen humanistischen Selbstportraits. Zitieren – avant la lettre, da Montaigne noch nicht über den Begriff und die Konvention verfügt – wird zum formalen Mittel eines skeptischen Schreibens, das die Dinge in der Schwebe halten will. Bayle greift diese Technik in seiner „Rüstkammer der Aufklärung“ auf, um sie mit den Mitteln der bibliographischen Akribie neu zu gestalten; nunmehr auf den Begriff gebracht, wird Zitieren zum kritischen modus operandi einer skeptischen Erschütterung des historischen Bestands der philosophischen Tradition.
Series:
Intersections, Volume: 71
From the sixteenth through to the eighteenth century, printed disputations were the main academic output of universities. This genre is especially attractive as it deals with the most significant cultural and scientific innovations of the early modern period, such as the printing revolution and the development of new methods in philosophy, education and scholarly exchange via personal networks.
Until recently, academic disputations have attracted comparatively little scholarly attention. This volume provides for the first time a comprehensive study of the early modern disputation culture, both through theoretical discussions and overviews, and numerous case studies that analyze particular features of disputations in various European regions.
Until recently, academic disputations have attracted comparatively little scholarly attention. This volume provides for the first time a comprehensive study of the early modern disputation culture, both through theoretical discussions and overviews, and numerous case studies that analyze particular features of disputations in various European regions.
Series:
Intersections, Volume: 71
From the sixteenth through to the eighteenth century, printed disputations were the main academic output of universities. This genre is especially attractive as it deals with the most significant cultural and scientific innovations of the early modern period, such as the printing revolution and the development of new methods in philosophy, education and scholarly exchange via personal networks.
Until recently, academic disputations have attracted comparatively little scholarly attention. This volume provides for the first time a comprehensive study of the early modern disputation culture, both through theoretical discussions and overviews, and numerous case studies that analyze particular features of disputations in various European regions.
Until recently, academic disputations have attracted comparatively little scholarly attention. This volume provides for the first time a comprehensive study of the early modern disputation culture, both through theoretical discussions and overviews, and numerous case studies that analyze particular features of disputations in various European regions.
Der Leib-Seele-Dualismus und das naturwissenschaftliche Weltbild
Der cartesische Dualismus ist heute eine extrem unpopuläre Position. Das gilt sowohl für die Neurowissenschaften und die Psychologie als auch für den Grossteil der philosophischen Literatur zur Philosophie des Geistes. Lauth zeigt, dass es - schon bei Descartes selbst - durchaus divergierende Lesarten des Leib-Seele-Dualismus gibt, die sich sehr deutlich durch ihre ontologischen Voraussetzungen und Konsequenzen unterscheiden. Im Mittelpunkt des Buches steht die Frage, unter welchen Voraussetzungen eine dualistische Ontologie in unser modernes naturwissenschaftliches Weltbild integriert werden kann.
Der Leib-Seele-Dualismus und das naturwissenschaftliche Weltbild
Der cartesische Dualismus ist heute eine extrem unpopuläre Position. Das gilt sowohl für die Neurowissenschaften und die Psychologie als auch für den Grossteil der philosophischen Literatur zur Philosophie des Geistes. Lauth zeigt, dass es - schon bei Descartes selbst - durchaus divergierende Lesarten des Leib-Seele-Dualismus gibt, die sich sehr deutlich durch ihre ontologischen Voraussetzungen und Konsequenzen unterscheiden. Im Mittelpunkt des Buches steht die Frage, unter welchen Voraussetzungen eine dualistische Ontologie in unser modernes naturwissenschaftliches Weltbild integriert werden kann.