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The article analyses A. Boissier's image "Les Amants électrisés par l'amour" in view of the larger question of how something is able to arouse interest on first sight, but also in repeat encounters. Highlighting the engraving's didactic iconography, the article shows how it revolves around the solution to a riddle and uses a typical design of the Enlightenment to show the uncovering of a deception. As such, the engraving is part of a long tradition of showing (supposedly) supernatural events, more specifically the tradition of Magia naturalis. At the same time, the image contains dissonances and can be seen to simulate suspense through dichotomies that can be identified as antagonistic historical concepts. The article furthermore discusses the amalgamation of love and electricity in contemporary discourses and addresses the temporal dimension of the engraving, which constructs itself out of an absence, out of something yet unseen.
It can hardly be disputed that the theme of popularity is central to the Enlightenment. Popularity is the sociality equivalent to the individual appeal: 'Dare to know.' Parallel to this runs the following imperative: 'Dare to encourage your neighbour and your fellow man and woman to think on their own – even though they do not belong to the erudite elite.' It is also undeniable that Romantic authors and philosophers polemically attempted to tear down the popularity project of the Enlightenment, their main criticism being its tendency towards mediocrity. It is less well known that Romantic authors and philosophers themselves, around the turn of the nineteenth century, made popularity their central concern. To quote Friedrich Schlegel in the journal Athenaeum: 'The time of popularity has come.' This article explores the Romantics' alternative conception of popularity, with especial reference to Johann Gottlieb Fichte and the Grimm Brothers. To this end, it is helpful to reconstruct the background of the Romantic attempt to create an independent concept of popularity: the debate between Immanuel Kant and the German popular philosopher Christian Garve on the necessity, possibilities, and limits of popularity.
The bare life and (the) modern law : a journey to some key concepts or conceptions of Agamben
(2012)
This text is imitating a journey which tries to explore what is completely unknown. It starts Homo Sacer and traces some key concepts namely der Muselmann, bare life, state of exception, sovereignty and nihilism in law. Doing so, it hopes to reach a general picture of biopolitics or biopower according to Agamben. So, first part of this text generally tries to clarify some fundamental concepts or conceptions in order to use them for its aim. The second part suggests an alternative reading of Agamben, centered around his concept of der Muselmann which is the ultimate figure defined by Primo Levi and Agamben chooses the term because of its resemblance to or representation of Homo Sacer. Der Muselmann was a derogatory term in its origin and very meaning has still been unclear today. So, the second part tries to clarify the meaning of der Muselmann (and unbaptized babies) from a different outlook, not from outside but inside of the referred concept. It tries to show a Muslim’s image of a non Muslim world in order to reveal what are the very meanings of sovereignty, law and biopolitics. So at the end of the journey, this text hopes to reach a different picture of modern life and a modern law.