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1. |
Record Nr. |
UNINA9910495763403321 |
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Autore |
Belayche Nicole |
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Titolo |
Fabriquer du divin : Constructions et ajustements de la représentation des dieux dans l’Antiquité / / Nicole Belayche, Vinciane Pirenne-Delforge |
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Pubbl/distr/stampa |
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Liège, : Presses universitaires de Liège, 2020 |
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ISBN |
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Descrizione fisica |
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1 online resource (264 p.) |
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Collana |
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Altri autori (Persone) |
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BonnetCorinne |
BruléPierre |
CazanoveOlivier de |
DuboisJean-Daniel |
EstienneSylvia |
FouriauxFrançois |
JaccottetAnne-Françoise |
Pirenne-DelforgVinciane |
Pirenne-DelforgeVinciane |
PirontiGabriella |
RüpkeJörg |
ScheidJohn |
SlobodzianekIwo |
BelaycheNicole |
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Soggetti |
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Religion |
History |
polythéisme |
histoire des dieux |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Sommario/riassunto |
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Le monde des dieux est une construction humaine, certes organisée, mais instable. Sans cesse mis en question et reconfiguré, il offre au regard de l’historien une plasticité qui est d’autant plus manifeste en |
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contexte polythéiste. Car ces systèmes religieux ne s’appuient pas sur une représentation dogmatique issue de textes révélés ou d’une autorité centrale. Des élaborations et des ajustements y sont sans cesse à l’oeuvre, selon des opérations pragmatiques que, avec Lévi-Strauss, on qualifiera de ‘bricolages’. L’enjeu de cette dynamique de la ‘fabrique’ du divin n’est rien moins que notre compréhension de chaque divinité en particulier - comment et pourquoi fait-on un dieu, ce dieu, tous les dieux, ou le dieu ? - et notre capacité à rendre compte des structurations et fonctionnements de ces ensembles complexes qui ont bel et bien une histoire. En quoi, par exemple, le genre littéraire est-il créateur de représentation, et de quel type de représentation, différente de celle que construirait un autre registre d’expression ? En quoi les formes rhétoriques ou iconographiques conditionnent-elles la représentation du divin et en sont-elles des facteurs de fixation ou d’évolution ? Comment le rituel est-il à même de modifier l’image d’un dieu, et pas seulement d’informer sur lui ? Comment les artisans créateurs d’images sont-ils capables, par leurs oeuvres, d’ouvrir à de nouvelles interprétations des divinités, tout en étant tenus de respecter une figuration reconnaissable, voire attendue, par les fidèles ? L’érudition à l’oeuvre dans des cercles d’intellectuels a-t-elle un impact sur la représentation des dieux en contexte rituel ? Autant de questions qui relèvent des processus par lesquels le divin se ‘fabrique’ et que le présent volume pose dans diverses aires culturelles de l’Antiquité méditerranéenne. |
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2. |
Record Nr. |
UNISA996248321703316 |
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Autore |
Gran Peter <1941-> |
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Titolo |
The rise of the rich : a new view of modern world history / / Peter Gran |
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Pubbl/distr/stampa |
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Syracuse, N.Y., : Syracuse University Press, 2009 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (302 p.) |
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Disciplina |
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Soggetti |
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History, Modern |
Rich people - History |
Upper class - History |
Social classes - History |
Social history |
Economic history |
World politics |
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Lingua di pubblicazione |
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Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references (p. 219-240) and index. |
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3. |
Record Nr. |
UNINA9910404756203321 |
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Autore |
Rickels Laurence A. |
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Titolo |
Critique of Fantasy, Vol. 1 : Between a Crypt and a Datemark / / Laurence A. Rickels |
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Pubbl/distr/stampa |
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Santa Barbara : , : Punctum Books, , 2020 |
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©2020 |
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ISBN |
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Descrizione fisica |
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Disciplina |
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Soggetti |
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Fantasy literature |
Fantasy literature - History and criticism |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Sommario/riassunto |
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Critique of Fantasy, Vol. 1: Between a Crypt and a Date Mark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy's restraining order.With George Lucas's Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud's notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the |
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future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction - as heralding a new metaphysics and a new planetary going on interstellar civilization - a mainstay of its cultural anthropology with B-genres.===After thirty years teaching at the University of California, Santa Barbara, in 2011 Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Künste, Karlsruhe and taught there as successor to Klaus Theweleit until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School (Saas Fee, Switzerland and Malta) where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Case of California (Minnesota, 1991), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), and The Psycho Records (Columbia, 2016). |
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