La Gemäldegalerie di Dresda. Evoluzione dal Settecento a fine Ottocento

Since its foundation, the Gemäldegalerie (Old Masters Picture Gallery) in Dresden has been considered one of the most magnificent picture galleries in Europe. Not only during the Augustan Age there was a keen interest in the arts, but also a strong understanding of the arts as a means of political power claims. In this context, the Gemäldegalerie was the most representative display of this phenomenon. This article aims to explore the complex role played by the galleries of royal and aristocratic residences in Saxony, concentrating on the Gemäldegalerie between the 18th and 19th centuries as a case study, as well as focusing on its impact on contemporary German literature

Polémon l'Athénien, scolarque de l'ancienne Académie. Témoignages

Les témoignages concernant le quatrième scolarque de l'Académie, Polémon l'Athénien, ont été étudiés dans leurs spécificité réciproque, à fin de tracer une carte des emplois et des usages du nom du philosophe dans la littérature ancienne qui a survécu. Polémon, donc, est dans cet étude avant tout une figure textuelle, et non pas un philosophe pourvu d'une doctrine systématique complète. On le rencontre en fait dans la littérature biographique en tant qu'exemple de 'conversion' soudaine au genre de vie philosophique et incarnation des traits distinctifs du philosophe hellénistique. On découvre ainsi que Polémon est plus pyrrhonien de Pyrrhon et plus stoïcien du père du stoïcisme, Zénon. Par contre, en relation à la tradition platonicienne, Polémon est rattaché par les sources à la phase de l'histoire de l’école nommée 'Ancienne Académie'. Ayant réuni autour de soi un groupe de disciples compact, caractérisé par l'harmonie et la concorde, Polémon est ensuite devenu le symbole d'une réception diligente de la pensée platonicienne, exempte d’altération ou d'intervention innovatrice. Sa qualité de fidèle héritier doit d'ailleurs se comprendre surtout en relation aux développements postérieurs de l'instance académicienne, plus spécifiquement en relation au surgissement d'une approche 'sceptique' à la pensée de Platon, développé par Arcésilas. A posteriori donc les contestataires de la position 'sceptique' de l’Académie ont essayé de délégitimer la lecture de la pensée de Platon donnée par Arcésilas, tout en affirmant par conséquence le caractère 'originaire' et 'dogmatique' de la phase d'interprétation de l'Ancienne Académie.The testimonies on the forth head of the Academy, Polemo the Athenian, have been individually studied in order to provide a complete survey of the several usages of the philosopher's name in the ancient surviving literature. In this study, Polemo is, therefore, mainly a text figure, rather than a philosopher provided with a full systematic doctrine. We find his name, as a matter of fact, in the biographic literature, as an example of a sudden 'conversion' to the philosophical life and as an example of the embodiment of the distinctive features of the Hellenistic philosopher. We discover then that Polemo is even more pyrrhonian than Pyrrho and more stoic than the Stoicism's father, Zeno. Moreover, within the Platonic tradition, Polemo is linked by the sources to the phase of the history of the school labelled as 'Ancient Academy'. After assembling around him a compact group of disciples, characterized by the greatest harmony and agreement, Polemo has become the symbol of a diligent reception of the Platonic thought, free from any alteration or innovative intervention. His role of faithfull heir must be by all means considered in relation to the later developments of the Academic instance, more precisely in relation to the rising of a 'sceptic' approach to Plato's thought, encouraged by Arcesilaus. A posteriori then the critics of the 'sceptic' position have tried to delegitimize Arcesilaus' reading of Plato, stating by consequence the 'original' and 'dogmatic' character of the interpretative phase of the Ancient Academy

Towards a possible “liquid mapping”

The essay investigates unexpected analogies and comparisons between different methodological approaches by design and art to the complex and delicate space of the border and crossing. Mapping the Mediterranean is the focus for the total issue that is introduced by the authors reflections

Polemone l'ateniese, scolarca dell'Academia antica. Testimonianze

Les témoignages concernant le quatrième scolarque de l'Académie, Polémon l'Athénien, ont été étudiés dans leurs spécificité réciproque, à fin de tracer une carte des emplois et des usages du nom du philosophe dans la littérature ancienne qui a survécu. Polémon, donc, est dans cet étude avant tout une figure textuelle, et non pas un philosophe pourvu d'une doctrine systématique complète. On le rencontre en fait dans la littérature biographique en tant qu'exemple de 'conversion' soudaine au genre de vie philosophique et incarnation des traits distinctifs du philosophe hellénistique. On découvre ainsi que Polémon est plus pyrrhonien de Pyrrhon et plus stoïcien du père du stoïcisme, Zénon. Par contre, en relation à la tradition platonicienne, Polémon est rattaché par les sources à la phase de l'histoire de l école nommée 'Ancienne Académie'. Ayant réuni autour de soi un groupe de disciples compact, caractérisé par l'harmonie et la concorde, Polémon est ensuite devenu le symbole d'une réception diligente de la pensée platonicienne, exempte d altération ou d'intervention innovatrice. Sa qualité de fidèle héritier doit d'ailleurs se comprendre surtout en relation aux développements postérieurs de l'instance académicienne, plus spécifiquement en relation au surgissement d'une approche 'sceptique' à la pensée de Platon, développé par Arcésilas. A posteriori donc les contestataires de la position 'sceptique' de l Académie ont essayé de délégitimer la lecture de la pensée de Platon donnée par Arcésilas, tout en affirmant par conséquence le caractère 'originaire' et 'dogmatique' de la phase d'interprétation de l'Ancienne Académie.The testimonies on the forth head of the Academy, Polemo the Athenian, have been individually studied in order to provide a complete survey of the several usages of the philosopher's name in the ancient surviving literature. In this study, Polemo is, therefore, mainly a text figure, rather than a philosopher provided with a full systematic doctrine. We find his name, as a matter of fact, in the biographic literature, as an example of a sudden 'conversion' to the philosophical life and as an example of the embodiment of the distinctive features of the Hellenistic philosopher. We discover then that Polemo is even more pyrrhonian than Pyrrho and more stoic than the Stoicism's father, Zeno. Moreover, within the Platonic tradition, Polemo is linked by the sources to the phase of the history of the school labelled as 'Ancient Academy'. After assembling around him a compact group of disciples, characterized by the greatest harmony and agreement, Polemo has become the symbol of a diligent reception of the Platonic thought, free from any alteration or innovative intervention. His role of faithfull heir must be by all means considered in relation to the later developments of the Academic instance, more precisely in relation to the rising of a 'sceptic' approach to Plato's thought, encouraged by Arcesilaus. A posteriori then the critics of the 'sceptic' position have tried to delegitimize Arcesilaus' reading of Plato, stating by consequence the 'original' and 'dogmatic' character of the interpretative phase of the Ancient Academy.PARIS4-Bib. électronique (751059905) / SudocATHENES-Ecole Fr.Archéologie (991262301) / SudocSudocFranceF

Pad. Landscape. Art vs Design . #17

In this number of the magazine PAD, used for Pages of Art and Design, the acronym also stands for the topic chosen: Landscape , Art and Design. refers to scholars in humanistic studies as well as design studies. The issue hosts texts that focus on a theoretical, aesthetic, and critical approach as well as on projects associated with the contemporary Mediterranean landscapes. The content includes humanistic studies as well as design studies and the authors comes from several field of studies: landscape design, storytelling design, critic of art, carthography etc. All try to analyze the visual identity of the Mediterranean. The volume tries to answer to different questions: • How landscape is a cross between art and design? • Landscape can be a stage in which a work of art is produced, or a background for the interaction between art and design? • What is the landscape for a designer and what is it for the artist? • How physical and virtual Mediterranean landscapes can be enhanced? • It is also asked focus on the representation of the landscape: from cartography to maps, from communication to visual identity