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Les Jeunes hégéliens. Une anthologie 年轻的黑格尔主义者。有文集
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.311.0471
Jean-François Kervégan
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引用次数: 0
Notices bibliographiques 书目
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.309.0153
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引用次数: 0
Canetti als Anti-Nietzsche 坎尼跟尼采一样
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.309.0139
Gérald Stieg
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引用次数: 0
Fruits du poème, fleurs du jardin. Les Sonnets à Orphée selon Jean Bollack 诗的果实,花园的花朵。让·博拉克的《俄耳甫斯十四行诗》
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.309.0133
Karine Winkelvoss
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引用次数: 0
La thématique de la coopération entre la penséede Moses Hess et celle de Karl Marx (1844-1846) 摩西·赫斯思想与卡尔·马克思思想合作的主题(1844-1846)
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.311.0403
Federico Puletti
This article purports to analyze Hess’ and early Marx’s thought on the question of “cooperation”. The latter gathered momentum with the publication of the essay On the Essence of Money. The concept of generic essence then came to stand second to the notions of productive vital activity, of generic action and of cooperation. References to cooperation make Marx’s philosophical and political trajectory visible. The notion of Zusammenwirken is indeed one of the conceptual tools through which Marx transformed Feuerbach’s philosophy to such an extent that he forsook the philosophical parlance linked to the concept of generic essence. Their intellectual synergy was followed by a definitive split which nonetheless still revealed the marks of their strife.
本文旨在分析Hess’以及早期马克思关于“合作”问题的思想。后者随着《论货币的本质》一文的发表而愈演愈烈。于是,一般本质的概念就排在生产性生命活动、一般行动和合作的概念之后。对合作的提及使马克思的哲学和政治轨迹清晰可见。“共同本质”的概念确实是马克思改造费尔巴哈哲学的概念工具之一,通过这个概念,马克思抛弃了与一般本质概念有关的哲学用语。他们在思想上的协同作用之后,就出现了最终的分裂,尽管如此,这种分裂仍然显示出他们之间冲突的痕迹。
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引用次数: 0
Le problème de l’éthique et le visage de l’autre. Martin Buber et Emmanuel Levinas en dialogue 伦理问题和他人的面孔。马丁·布伯和伊曼纽尔·列维纳斯在对话中
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.309.0033
Silvia Richter
This article examines the complex relationship between Martin Buber and Emmanuel Levinas, and focuses on the parallels and differences between both thinkers on different levels: First, with regard to language and its significance in the ethical relationship to the Other (Levinas) or the Thou (Buber). In a second step, their different approach to ethics is discussed: while Levinas characterizes the relationship to the Other as asymmetrical, for Buber the I encounters the Thou as an equal partner. In light of their different ethical conceptions, some of the key notions of Levinas’s and Buber’s thought are discussed and compared – the face of the other, the reciprocity of the relationship, the illeity and, last but not least, their different approach to Judaism.
本文考察了马丁·布伯和伊曼纽尔·列维纳斯之间的复杂关系,并着重分析了两位思想家在不同层面上的相似之处和差异:首先,关于语言及其在与他者(列维纳斯)或你者(布伯)的伦理关系中的意义。在第二步中,讨论了他们不同的伦理方法:虽然列维纳斯将他者的关系描述为不对称的,但对布伯来说,“我”遇到“你”是一个平等的伙伴。鉴于列维那斯和布伯不同的伦理观念,本文对他们思想中的一些关键概念进行了讨论和比较。他者的面孔,关系的互惠,罪恶,最后但并非最不重要的是,他们对犹太教的不同态度。
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引用次数: 0
Le plan et le parcours. Guider le visiteur dans la galerie impériale et royale de Vienne à la fin du xviii e siècle 地图和路线。带领游客参观18世纪末的维也纳帝国和皇家画廊
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.310.0179
Jean-François Laplénie
The reorganisation of the Viennese imperial painting collections in Vienna according to artistic schools and periods, which took place in 1780-1781, is often regarded as an important milestone in the development of the modern museum idea. The new display is not only innovative in terms of the conception of art history that it reflects: Christian von Mechel, who completed the new presentation, took account of the new public and the new uses of the picture gallery, and in order to respond to them, he developed mediation mechanisms by means of texts (labels, small-format catalogue, gallery map) that refer to each other and enable two complementary modes of apprehension and use of the gallery: a static mode (the gallery map) that conceives the museum as a cartography of knowledge about art, and a dynamic mode (the visitor’s journey) that takes into account the temporality of the visit as well as the sensitive, emotional and bodily experiences associated with it.
1780年至1781年间,维也纳帝国根据艺术流派和时期对维也纳的绘画收藏进行了重组,这通常被认为是现代博物馆理念发展的一个重要里程碑。新的展示不仅在它所反映的艺术史概念方面具有创新性:完成新展示的克里斯蒂安·冯·Mechel考虑到新的公众和画廊的新用途,为了回应他们,他通过文本(标签,小格式目录,画廊地图)开发了相互参考的中介机制,使画廊的两种互补的理解和使用模式成为可能:静态模式(画廊地图)将博物馆视为艺术知识的地图,动态模式(参观者的旅程)考虑到参观的临时性以及与之相关的敏感、情感和身体体验。
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引用次数: 0
Actualité de Karl Gutzkow 卡尔·古茨科的新闻
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.311.0475
Michel Espagne
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引用次数: 0
Les « musées bourgeois » en Allemagne dans les années 1830-1870 1830-1870年德国的“资产阶级博物馆”
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.310.0197
France Nerlich
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引用次数: 0
Martin Buber, Franz Rosenzweig et le complexe judéo-allemand 马丁·布伯,弗朗茨·罗森茨威格和犹太-德国复合体
4区 文学 Q4 Arts and Humanities Pub Date : 2023-09-21 DOI: 10.3917/eger.309.0051
Sonia Goldblum
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引用次数: 0
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