ABSTRACT This article offers a new interpretation of the historical relation between two foundational works in cultural history: Johan Huizinga’s ‘The Autumntide of the Middle Ages’ (1919) and Jacob Burckhardt’s ‘The Civilization of the Renaissance in Italy’ (1860). The tension between these works has commonly been understood as a scholarly dispute over the proper historical periodization of European fifteenth-century cultural practices: whilst Burckhardt reconstructed his material in terms of its technical novelty, its ability to ‘create’ (schöpfen) a post-medieval world, Huizinga (...) emphasized how fifteenth-century culture continued to ‘re-create’ (her-scheppen) culture according to medieval symbolic codes. The present article suggests understanding this tension not as a product of a trans-historical scholarly dispute over the character of a given period of time, but as a consequence of Huizinga’s experience of loss and nostalgia, his ‘heimwee’ for past times. Between 1903 and 1905, Huizinga witnessed a large-scale destruction of early-seventeenth-century architecture in Amsterdam so as to make way for ‘the spirit of entrepreneurship,’ and it was first in this context that Huizinga grew interested in the importance of historical recreations to European culture. This article shows how Huizinga’s experience of urban modernization and ‘the inhabited ruin’ mediated his critique of Burckhardt’s book on Renaissance Italy. (shrink)

By considering a variety of readings of Renaissance Florence from Burckhardt to the present, this article discusses the nature of the interrelation between the archive and the historian, with a view to illustrating the partiality of both. The records contained within the archives are by nature fragmentary; vestiges of the past, they are also partial in the sense of being subjective, testimonies to past relationships either between individuals or between individuals and institutions - social or political. Likewise, the readings of (...) historians are partial both in the sense that the historian’s research is focused upon particular parts of the archive and in his or her subjectivity as an historian. Interestingly, in this context post-Burckhardtian Florentine historiography shares common ground, however unwittingly, with certain aspects of post-modern writing in decentring the subject, for observations concerning the partial subjectivity of Burckhardt’s Renaissance individual apply equally to observations concerning the partial subjectivity of historians as writers. The fiction of an objective historical method producing hard history becomes apparent once the static relation of historian as subject researching the archive as object is reconfigured as a dynamic and dialectical process. Through the acknowledging of the contingency of such archival readings it becomes apparent that the archive itself is a symbolic construct constituted through the process of writing. (shrink)

By dovetailing the classical concepts of virtue, beauty, harmony and happiness with the cardinal values of modern imagination, life and freedom, Agnes Heller galvanizes modernity's anthropological reflexivity and hints at the prospect of a classicism pertinent to the present. Beyond nostalgia for an ancient past or apology for a contemporary present, her moral anthropology is approached via a dialectical elucidation of aspects of epicurean theory attuned to modernity's complexity. Under the contemporary condition of waning postmodern challenges, escalating confusion and cynicism, (...) moral anthropology's task is as one of probing modernity's destiny for a non-predatory humanism that combines the existential wisdom of ancient theory with modern values. (shrink)

O fenómeno religioso tem sido, ao longo dos tempos, objecto de particular atenção. Foi sendo redefinido perante as suas circunstâncias históricas e socioculturais. Parece ter sobrevivido aos diversos anúncios do seu desaparecimento, anunciados tanto pela via da alienação intelectual (Comte) e antropológica (Feuerbach), como psíquica (Freud) e socioeconómica (Marx). Todavia, é inegável que a modernidade, com a sua consequente individualização social, deixou e continua a deixar marcas de uma progressiva secularização da sociedade. Tal facto conduz a um progressivo desgaste dos (...) referentes provenientes dos costumes e tradições da religião institucional, levando, por um lado, a uma perda da influência da institucionalidade religiosa e, por outro, a uma vivência religiosa mais íntima e privada. Esta transformação, reconfiguração ou inclusive decomposição do religioso na modernidade revela a capacidade que este fenómeno tem em manter-se em constante processo de mudança, adaptando-se e assumindo os contextos socioculturais em que se insere. É desde a actualidade, desde o diagnóstico actual e da sociedade que nos envolve que olhamos para o passado e para o futuro, tentando auscultar a situação sociorreligiosa portuguesa, de forma a caracterizar a religiosidade dos portugueses e perceber até que ponto esta se identifica com a de outros países de semelhante matriz histórico-religiosa (como é o caso de Áustria, Bélgica, Espanha, França, Irlanda, Itália e Polónia), bem como se procura precisar as novas formas ou tendências do religioso em Portugal. (shrink)

My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and weaknesses (...) of psychology as explanatory framework for world art studies. Unlike the romantic art historiographers of the late 19th century, contemporary scholars no longer dwell on collective mentalities or spirits of an age but the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature. (shrink)