Добірка наукової літератури з теми "German Enlightment"

Rationalism in architecture is a European concept which, from Enlightment to postmodern era, advocates values of order, clarity and logic, represented through primary geometrism, functionalism, profitability and absence of ornament. The text connects and analyzes (1) formal-stilistic manifestations of rationalism in architecture: French neoclassicism; Soviet constructivism, German new objectivity, Italian rationalism; postmodern Italian neorationalism in the context of (2) dominant paradigms which directs them: divine nature; technological-utilitarian; autonomus-selfreferent, and (3) social, economic, ideological and cultural activities around which they are organized, such as: French bourgeois revolution; proleterian-communist, socialdemocratic and faschist ideas beteween two World wars; critical procession of populist values in mass consumer society and global capitalist economy at the threshold of postmodern era.

Ethical learning is always a challenge in Religious Education, especially in the field of sustainability and eco-justice. Here, the tension between the normativ orientation towards autonomy and freedom in the tradition of the enlightment, on the one hand, and the danger of Moralisation as a way of overpowering the students in a destructive way is very demanding. Methodologically referring on theoretical concepts and situated in the German context where Religious education is an ordinary subject in school, this paper elaborates on this tension and develops a category which allows us to deal with it in in a critical and productive way. Keywords: Education, Religion, Ethical learning, Sustainability

In this essay I investigate some changes in Pindar’s Nachleben. I start with the immediate aftermath of his poetry right after its (first) performance and pursue with the process of how it became written poetry securing its way into the Byzantine manuscript tradition. Regarding its popularity in the 16–17th century I highlight the fact that Pindar remained novem princeps lyricorum for a long time and thus served as a lodestar and cynosure for generations of poets to come until the Enlightment brought a wind of change ending the era in which Pindar was a source of inspiration. Yet due attention is paid to the German poet Hölderlin who in his imitation of Pindar differs from the trends of his time. Finally I cast some light on the interesting shift of interest which made Pindar a lively subject of scholarly pusuits whereas his power of shaping modern European lyric was at an end.

The connection between text, music, and performance in the lieder of the late eighteenth and early nineteenth centuries is an integral aspect to fully comprehending the style and performance of the genre. It is also essential in order to understand the full development of the lied in its totality. The era represented a transitional period in musical development, influenced by Enlightenment values of elegance, good taste, simplicity, and naturalness which sought to eradicate the overly decorative “excesses” of the high-Baroque. In this study, emphasis is placed upon the unique development of the lied in the northern German regions by the composers Johann Friedrich Reichardt and Carl Friedrich Zelter and their musical settings of the lyric poetry of Johann Wolfgang von Goethe. The study also addresses the overall development of the genre as it progressed from the Baroque through Classicism/Neo-Classicism, Sturm und Drang, and into Romanticism exploring the musical settings and performance possibilities both then and now in the context of the various treatises and correspondence between the composers and poet. It seeks to effectively address the notion that these early songs were composed and performed by those versed in the ideal of music being an improvisatory/dramatic vehicle for expressing emotion and textual meaning. In opera, and to a lesser extent other vocal idioms, musico-dramatic excesses occurred in the late Baroque and the cult of the singer reigned. However, the reforms which led to the new aesthetic of naturalness did not suddenly end this improvisatory vocal performance practice. The musical complexity of the lied was gaining in prominence but not yet to the detriment of the priority of the poetic text and its effective rendering.

Spinozisme et esthétique. Ces deux éléments majeurs de l'historiographie allemande ne semblent pas être faits pour se rencontrer. D'un côté, nous avons la réception tourmentée du spinozisme, depuis les premières diffusions des textes du vivant de Spinoza jusqu'aux controverses qui en font une pensée disparate, façonnée par les espaces non remplis que l'on a cherché à combler au gré des réfutations et des attaques contre sa pensée et ses prétendus adeptes. Dans l'Allemagne du XVIIIe, le spinozisme est pour sa plus grande part une construction factice, nourrie des critiques plutôt que par la lecture des textes. En outre, Spinoza occupe majoritairement la métaphysique et la théologie. D'un autre côté, une nouvelle science émerge à la suite de la contestation de l'idée du beau et de la volonté de réhabiliter la sensibilité au moyen du goût et de la connaissance sensible. Nous intéresserons plus particulièrement à la partie de l'esthétique proche de l'anthropologie et de la psychologie qui émergent à cette époque. C'est à cet endroit que nous situons le point de convergence entre le spinozisme et l'esthétique. En effet, bien que Spinoza n'ait pas fait d'esthétique, il s'est longuement intéressé à une sorte d'anthropologie que nous retrouvons dans l'Éthique, surtout dans le livre III, central aussi bien dans son livre que dans sa pensée, mais aussi dans le livre IV. Ainsi, à partir du présupposé d'une rencontre entre l'esthétique et le spinozisme, notre travail explore la "réception esthétique" de la philosophie Spinoza. Il ne s'agit bien évidemment pas de minimiser la part des auteurs traditionnellement reconnus dans la naissance de l'esthétique, mais de reconnaître la place du spinozisme parmi eux. La question qui anime ce travail est donc la suivante : en quoi l'esthétique allemande est-elle, elle aussi, aux côtés de la métaphysique et de la théologie, hantée par le spinozisme ? Nous répondrons en nous appuyant sur des "signes" pour identifier les "présences" du spinozisme dans l'esthétique rationaliste allemande. Il ne s'agit pas de dire que le spinozisme a façonné cette esthétique à la manière du wolffisme, ou qu'il a orienté les débats sur la sensibilité à la manière des sensualistes. Nous allons parcourir le XVIIIe siècle allemand à la recherche de signes spinoziste chez Tschirnhaus, Leibniz, Wolff, Sulzer, Mendelssohn et Lessing. In fine, les hypothèses que nous formulerons dans le corps de ce travail permettront, nous l'espérons, de reconsidérer la réception de la philosophie de Spinoza dans l'Allemagne du XVIIIe, en lui reconnaissant une place dans la naissance de l'esthétique
Spinozism and aesthetics. These two major elements of German historiography do not seem to be made to meet. On the one hand, we have the tormented reception of Spinozism, from the first diffusion of the texts during Spinoza's lifetime to the controversies that have turned it into a disparate thought, shaped by the gaps that have been sought to be filled by refutations and attacks against its alleged followers. In eighteenth-century Germany, Spinozism was for the most part a factitious construction, nourished by criticism rather than by reading the texts. Moreover, Spinoza was mainly concerned with Metaphysics and Theology. On the other hand, a new science emerges as a result of the contestation of the idea of the Beautiful and the will to rehabilitate sensibility by means of taste and sensitive knowledge. We will focus on the part of Aesthetics close to Anthropology and Psychology that emerges at that time. It is here that we locate the point of convergence between Spinozism and Aesthetics. Indeed, although Spinoza did not do Aesthetics, he was at considerable length interested in a kind of Anthropology that we find in the Ethics, especially in Book III, central both to his book and to his thought, but also in Book IV. Thus, based on the premise of an encounter between Aesthetics and Spinozism, our work explores the "aesthetic reception" of Spinoza's philosophy. It is not, of course, a question of minimising the part played by traditionally established authors in the birth of Aesthetics, but of acknowledging the place of Spinozism among them. The question that motivates this work is therefore the following: in what way is German Aesthetics, alongside Metaphysics and Theology, haunted by Spinozism? We will answer by relying on "signs" to identify the "presences" of Spinozism in German rationalist Aesthetics. It is not a question of claiming that Spinozism has shaped this Aesthetics in the same way as Wolffism, or that it has oriented the debates on sensibility in the same way as the Sensualists. We will go through the German eighteenth century in search of Spinozist signs in the works of Tschirnhaus, Leibniz, Wolff, Sulzer, Mendelssohn and Lessing. In the end, the assumptions we will develop in the course of this work will, we hope, allow us to reconsider the reception of Spinoza's philosophy in eighteenth-century Germany, by acknowledging its place in the birth of Aesthetics