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  1. Die Polypheme Homers und die Patagonier Pufendorfs : Barbarei und Völkerrecht bei Vico
    Autor*in: Albrecht, Tim
    Erschienen: 30.08.2018

    The article examines the role of the "natural law of nations" in Vico's philosophy of culture. The focal point of this inquiry is the notion of 'barbarism' in the New Science. While Vico's influential conception of the 'barbarism of reflection' has... mehr

     

    The article examines the role of the "natural law of nations" in Vico's philosophy of culture. The focal point of this inquiry is the notion of 'barbarism' in the New Science. While Vico's influential conception of the 'barbarism of reflection' has attracted a lot of attention, the multiplicity of tropes of barbarism in the New Science has not been sufficiently recognized. The article argues that while Vico takes civil law, the Roman ius gentium, as a model for his conception of culture, the trope of the warring barbarian figures prominently in key moments of his philosophy of history (e. g. in transitional moments between two historical ages) when issues of modern international law (asylum, declaration of war, piracy) are at stake.

     

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    Quelle: CompaRe
    Sprache: Deutsch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8498-1119-8
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Aisthesis Verlag
    Schlagworte: Vico, Giambattista; Barbar <Motiv>; Kulturphilosophie; Völkerrecht; Klassische Philologie; Griechische Literatur; Naturrecht
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  2. Die Herausforderung des Barbarischen in der Spätaufklärung : Volney als globaler Beobachter
    Erschienen: 30.08.2018

    The notion of the barbarian has been crucial in the development of the intellectual shifts spurred on by thinkers who shaped the culture of the Enlightenment. Asking what a barbarian might be had quite different meanings in the early 16th and in the... mehr

     

    The notion of the barbarian has been crucial in the development of the intellectual shifts spurred on by thinkers who shaped the culture of the Enlightenment. Asking what a barbarian might be had quite different meanings in the early 16th and in the late 18th century. An anthropological approach to the very different populations that had come to be known in Europe since the 16th century as well as the secularization of the historical vision contributed to the emergence of a more objectified connotation of barbarism. Among others, Montaigne, Montesquieu, Gibbon, Voltaire, d’Holbach commented extensively on barbarism as characterizing different stages in human civilization. Volney (Constantin-François de Chassebeuf, 1757-1820), who travelled to Egypt and Syria in the early 1780s, was familiar with the French works of the Enlightenment and applied their concepts of barbarism to the observation of the different Muslim populations he encountered. Later, after experiencing the turmoil of the French Revolution, he became interested in the United States. During his stay in America from 1795 to 1798, he investigated the American Indians who represented a different form of barbarism. Volney stands out as a thinker who knew the classics of the Enlightenment and who creatively compared theoretical speculations with his first-hand empirical observations.

     

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    Quelle: CompaRe
    Sprache: Deutsch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8498-1119-8
    DDC Klassifikation: Literatur und Rhetorik (800); Geschichte Europas (940)
    Sammlung: Aisthesis Verlag
    Schlagworte: Aufklärung; Volney, Constantin-François; Barbar <Motiv>; Zivilisation; Wildheit <Motiv>; Rationalität; Spätaufklärung
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  3. Les barbares de Baudelaire : peinture, poésie et cosmopolitisme
    Erschienen: 30.08.2018

    For Baudelaire, the barbarian is a figure of predilection. At first, it is a literary character that he got acquainted with through the works of Chateaubriand and E. A. Poe. The barbarian is linked to poetry as well; he brings to mind the condition... mehr

     

    For Baudelaire, the barbarian is a figure of predilection. At first, it is a literary character that he got acquainted with through the works of Chateaubriand and E. A. Poe. The barbarian is linked to poetry as well; he brings to mind the condition of the exiled, the solitary figure far away from his homeland (such as in Delacroix's Ovid among the Scythians). But, most of all, the barbarian gives the opportunity to Baudelaire to refine his idea of Beauty: at the 1855 Universal Exhibition, he confronts himself for the first time to Chinese art – labelled "barbarian art" back then. Far from agreeing with this description, Baudelaire refutes it and forces himself to shift his critical perspective: his challenge will be to adapt himself, accommodate his taste and become "as barbarian" as the works he beholds in order to appreciate one of these "specimen of universal beauty". This reflexion shall continue in his essay, 'The Painter of Modern Life' (1863), in which he describes Constantin Guys' way of drawing as being moved by an "inevitable barbarousness". In this article, our aim will be to trace the evolution of Baudelaire's conception and different uses of the term "barbarian" through his aesthetical, poetical and literary writings.

     

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    Quelle: CompaRe
    Sprache: Französisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8498-1119-8
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen romanischer Sprachen; Französische Literatur (840)
    Sammlung: Aisthesis Verlag
    Schlagworte: Baudelaire, Charles; Barbar <Motiv>; Le Peintre de la vie moderne; Schönheit
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  4. Die Poetik des Skythischen im Werk von Vjačeslav Ivanov
    Autor*in: Tétaz, Elena
    Erschienen: 30.08.2018

    Le poète, philosophe et helléniste Vjačeslav Ivanov (1866-1949) est considéré comme l'un des représentants les plus importants du symbolisme russe et comme une des grandes figures intellectuelles et artistiques de la Russie du début du xxe siècle. Il... mehr

     

    Le poète, philosophe et helléniste Vjačeslav Ivanov (1866-1949) est considéré comme l'un des représentants les plus importants du symbolisme russe et comme une des grandes figures intellectuelles et artistiques de la Russie du début du xxe siècle. Il a été influencé aussi bien par les idées de Nietzsche que par celles des slavophiles. C'est en combinant ces deux traditions qu'il forme sa conception du dionysien. Cette dernière fait partie intégrante de son concept de "'idée russe" et joue un rôle important dans la mise en place de sa doctrine de la sobornost'. Chez Ivanov, le dionysien trouve sa réalisation dans les Scythes. Cette identification reprend la conception classique des "Scythes comme barbares russes", mais assume également l’idée nietzschéenne du dionysien comme moment barbare. On a donc affaire à une réinterprétation créative du Dionysos nietzschéen dans l'esprit de la renaissance slave. Sur la base de trois oeuvres d'Ivanov datant de périodes différentes, l'article met en évidence comment Ivanov construit la figure du Scythe et les raisons pour lesquelles son symbolisme prend la forme d'un discours de la totalité aux ambiguïtés parfois proches du totalitarisme.

     

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    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Deutsch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8498-1119-8
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen anderer Sprachen (890); Ostindoeuropäische, keltische Literaturen (891)
    Sammlung: Aisthesis Verlag
    Schlagworte: Ivanov, Vjačeslav I.; Barbar <Motiv>; Skythen <Motiv>; Dionysos; Symbolismus; Slavophilie; Drittes Rom; Russland; Das Dionysische
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  5. Barbares/sauvages : Les non-civilisés dans 'Les Barbares' de Maxime Gorki
    Erschienen: 30.08.2018

    When Gorki wrote his play "The Barbarians" (1906), he probably did not intend to raise such an intricate problem as the relationship between the barbarian, the savage and the civilized. Neither did he envisage talking about this triadic relation in... mehr

     

    When Gorki wrote his play "The Barbarians" (1906), he probably did not intend to raise such an intricate problem as the relationship between the barbarian, the savage and the civilized. Neither did he envisage talking about this triadic relation in reference to its political, historical and philosophical meaning. He proceeded as a writer and managed to construct a peculiar literary figure of the "barbarian" in its multiple aspects, and as related to other figures, such as the savage, in the first place. In this paper I argue that Gorki's intrinsically literary venture consisted in trying to make collide two categories that never normally enter in a dual relationship, but are always mediated by the category of the "civilized". The objective of this paper is to examine the consequences of this forced dualism, which without imposing any idea of civilization, however, ends up by setting it as a problem for further meditation and, without giving any solution, invites the reader to pursue his reflection.

     

    Export in Literaturverwaltung
    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Französisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-8498-1119-8
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen anderer Sprachen (890); Ostindoeuropäische, keltische Literaturen (891)
    Sammlung: Aisthesis Verlag
    Schlagworte: Gorʹkij, Maksim; Barbar <Motiv>; Varvary
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