AGE OF ENLIGHTENMENT: A Life Marked By History [HOT]
LINK - https://urllie.com/2trMIc
In 1808, shortly after France invaded Spain, he undertook Los Desastres de la Guerra, an unsparingly horrific visual account of war, from the ferocity of village fighting, to the terrible famine that ravaged Madrid in 1811-12, claiming 20,000 lives. With a stark intensity unprecedented in the history of art, the 80 prints in the series convey the barbarity and futility of war. Not surprisingly, the Desastres were not published in Goya's lifetime; and the politically astute artist remained in official favor while producing graphic work that expressed an increasingly critical and despairing view of life in Spain at the turn of the century. Although he continued as court painter when Ferdinand VII was reinstated as monarch in 1814, he carried out few royal commissions, devoting himself to his final etching series,La Tauromaquia and Los Disparates; the latter comprised 18 enigmatic and deeply pessimistic images that recall the "black" paintings that decorated his home, the Quinta del Sordo (House of the Deaf Man), in the early 1820s. Goya emigrated to France in 1824 and died in Bordeaux in 1828 after completing a set of lithographs entitled The Bulls of Bordeaux. Of the great painter-engravers in the history of art, he was the least successful in his lifetime, publishing fewer than half of his prints and failing to sell most of those he printed.
The French Revolution or the Revolution of 1789 was a time of political and social upheaval in the history of France that began around 1787 and lasted till 1799. It stemmed from the rise of a wealthy middle class without much political agency or power. It was marked by violent conflicts and resulted in the end of the ruling class known as the ancien régime.
The tradition of excellence at Fisk has developed out of a history marked by struggle and uncertainty. Fisk's world-famous Jubilee Singers® originated as a group of traveling students who set out from Nashville on October 6, 1871, taking the entire contents of the University treasury with them for travel expenses, praying that through their music they could somehow raise enough money to keep the doors of their debt-ridden school open.
Edward Herbert, 1st Baron Herbert of Cherbury, by Isaac OliverThe origins of English deism lay in the first half of the 17th century. Lord Edward Herbert of Cherbury, a prominent English statesman and thinker, laid out the basic deist creed in a series of works beginning with De Veritate (On Truth, as it is Distinguished from Revelation, the Probable, the Possible, and the False) in 1624. Herbert was reacting to the ongoing religious strife and bloodletting that had wracked Europe since the onset of the Reformation in the previous century and would shortly spark a revolution and civil war in England itself resulting in the trial and execution of King Charles I. Deism, Herbert hoped, would quell this strife by offering a rational and universal creed. Like his contemporary Thomas Hobbes, Herbert established the existence of God from the so-called cosmological argument that, since everything has a cause, God must be acknowledged as the first cause of the universe itself. Given the existence of God, it is our duty to worship him, repent our failings, strive to be virtuous, and expect punishment and reward in the afterlife. Because this creed was based on reason which was shared by all men (unlike revelation), Herbert hoped it would be acceptable to everyone regardless of their religious background. Indeed, he considered deism the essential core religious belief of all men throughout history, including Jews, Muslims, and even Pagans.
The demythologisation of language, taken as an elementof the whole process of enlightenment, is a relapse into magic. Word and essential content were distinct yet inseparable fromone another. Concepts like melancholy and history, even life,were recognised in the word, which separated them out and preservedthem. Its form simultaneously constituted and reflected them. The absolute separation, which makes the moving accidental andits relation to the object arbitrary, puts an end to the superstitiousfusion of word and thing. 1e1e36bf2d