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The present book contextualizes Du Châtelet’s contribution to the philosophy of her time. The editor offers this tribute to an Époque Émiliennee as a collection of innovative papers on Emilie Du Châtelet’s powerful philosophy and legacy. Du Châtelet was an outstanding figure in the era she lived in. Her work and achievements were unique, though not an exception in the 18th century, which did not lack outstanding women. Her personal intellectual education, her scholarly network and her mental acumen were celebrated in her time, perceiving her to have “multiplied nine figures by nine figures in her head”. She was able to gain access to institutions which were normally denied to women. To call an epoch an Époque Émilienne may be seen as daring and audacious, but it will not be the last time if we continue to bring women philosophers back into the memory of the history of philosophy. The contributors paid attention to the philosophical state of the art, which forms the background to Du Châtelet’s philosophy. They follow the transformation of philosophical concepts under her pen and retrace the impact of her ideas. The book is of interest to scholars working in the history of philosophy as well as in gender studies. It is of special interest for scholars working on the 18th century, Kant, Leibniz, Wolff, Newton and the European Enlightenment.
What is more common than a pair of shoes? In a world where shoes have become an object of mass consumption, these accessories are now rid of any significance. The industry has accomplished its duty: producing a large quantity at a low price. But there was a time when the shoe symbolised the strength of the Roman legion, the power of the Medieval lords or the oppression of the Chinese woman. Its history is both vast and enthralling, as revealed by the author Marie-Josèphe Bossan. Supporting her analysis with an outstanding iconography, the author gives these commonplace objects a universal quality that sheds light on the whole of civilisation and elevates them to the rank of a work of art.
This Encyclopedia offers a fresh, integrated and creative perspective on the formation and foundations of philosophy and science in European modernity. Combining careful contextual reconstruction with arguments from traditional philosophy, the book examines methodological dimensions, breaks down traditional oppositions such as rationalism vs. empiricism, calls attention to gender issues, to ‘insiders and outsiders’, minor figures in philosophy, and underground movements, among many other topics. In addition, and in line with important recent transformations in the fields of history of science and early modern philosophy, the volume recognizes the specificity and significance of early modern science and discusses important developments including issues of historiography (such as historical epistemology), the interplay between the material culture and modes of knowledge, expert knowledge and craft knowledge. This book stands at the crossroads of different disciplines and combines their approaches – particularly the history of science, the history of philosophy, contemporary philosophy of science, and intellectual and cultural history. It brings together over 100 philosophers, historians of science, historians of mathematics, and medicine offering a comprehensive view of early modern philosophy and the sciences. It combines and discusses recent results from two very active fields: early modern philosophy and the history of (early modern) science. Editorial Board EDITORS-IN-CHIEF Dana Jalobeanu University of Bucharest, Romania Charles T. Wolfe Ghent University, Belgium ASSOCIATE EDITORS Delphine Bellis University Nijmegen, The Netherlands Zvi Biener University of Cincinnati, OH, USA Angus Gowland University College London, UK Ruth Hagengruber University of Paderborn, Germany Hiro Hirai Radboud University Nijmegen, The Netherlands Martin Lenz University of Groningen, The Netherlands Gideon Manning CalTech, Pasadena, CA, USA Silvia Manzo University of La Plata, Argentina Enrico Pasini University of Turin, Italy Cesare Pastorino TU Berlin, Germany Lucian Petrescu Université Libre de Bruxelles, Belgium Justin E. H. Smith University de Paris Diderot, France Marius Stan Boston College, Chestnut Hill, MA, USA Koen Vermeir CNRS-SPHERE + Université de Paris, France Kirsten Walsh University of Calgary, Alberta, Canada
The Third Republic, known as the ‘belle époque’, was a period of lively, articulate and surprisingly radical feminist activity in France, borne out of the contradiction between the Republican ideals of liberty, equality and fraternity and the reality of intense and systematic gender discrimination. Yet, it also was a period of intense and varied artistic production, with women disproving the critical nearconsensus that art was a masculine activity by writing, painting, performing, sculpting, and even displaying an interest in the new "seventh art" of cinema. This book explores all these facets of the period, weaving them into a complex, multi-stranded argument about the importance of this rich period of French women’s history.
The years before the First World War have long been romanticized as a zenith of French culture—the “Belle Époque.” The era is seen as the height of a lost way of life that remains emblematic of what it means to be French. In a vast range of texts and images, it appears as a carefree time full of joie de vivre, fanfare and frills, artistic daring, and scientific innovation. The Moulin Rouge shared the stage with the Universal Exposition, Toulouse-Lautrec rubbed elbows with Marie Curie and La Belle Otero, and Fantômas invented automatic writing. This book traces the making—and the imagining—of the Belle Époque to reveal how and why it became a cultural myth. Dominique Kalifa lifts the veil on a period shrouded in nostalgia, explaining the century-long need to continuously reinvent and even sanctify this moment. He sifts through images handed down in memoirs and reminiscences, literature and film, art and history to explore the many facets of the era, including its worldwide reception. The Belle Époque was born in France, but it quickly went global as other countries adopted the concept to write their own histories. In shedding light on how the Belle Époque has been celebrated and reimagined, Kalifa also offers a nuanced meditation on time, history, and memory.
This book builds on the path-breaking work of George E. Smith and further explores the notions of evidence and confirmation in the exact sciences from two perspectives: conceptual and historical. Contributions in this volume investigate the philosophical presuppositions, explanatory scope, and historical precursors of evidence in mathematical physics and related disciplines. The papers are written by and of interest to philosophers and historians of science.
A fascinating look at the real Gabrielle “Coco” Chanel, the designer who forever revolutionized the way women look. She was a free spirit, brilliant business woman, and beauty who never found reciprocated love. Madsen, with authority, delves into this fashion doyenne’s business and private lives to reveal one woman’s extraordinary progress: from orphan to millinery shopkeeper, from lodestar of feminine style to a very rich woman with a closet full of dark secrets.
The Dreyfus Affair of the 1890s and the violent controversies that surrounded it appeared to pass two very different judgments on the France of the Third Republic. The outcome o the trial—Captain Dreyfus convicted without guilt and the real traitor acquitted despite guilt—demonstrated without question the extraordinary hypocrisy of the military justice system. But the furor raised by Dreyfus' conviction and the agitation for his release suggested that the injustice of the courts' verdict was uncharacteristic of French society; that for France as a nation the rendering of justice was paramount, even at the expense of disgracing both the military and a conspiring government. In The Hypocrisy of Justice in the Belle Epoque, Benjamin Martin examines the events of three sensational criminal cases to reveal that the willful mangling of justice that occurred in the Dreyfus trial was far from rare in the Third Republic France. He finds, in fact, that justice in the Belle Epoque was "hypocritical in the extreme," with the outcome of trials easily tainted by the power and influence of politics, money, and illicit sex. At times, justice deviated so far from the ideal that its goal was not the strict application of the law or even the discovery of the truth, but rather the imposition of a system of rewards and punishments meted out in accordance with a capricious vision of social utility. Martin begins with the case of Marguerite Steinheil, the wife of an artist of only middling talent. A strikingly beautiful woman, she presided over a famous salon and was the lover of influential politicians. When she was tried for the brutal murders of her husband and her mother, Marguerite defended herself with a flurry of extravagant stories and unlikely counter-accusations. Even so, she was found innocent of all charges, and the crimes were left unsolved. The second trial considered is that of Thérèse Humbert, a young woman who used an apparently innate talent for elaborate deception in rising from poverty to the upper reaches of Parisian society. With the aid of her husband and her brothers, Thérèse created a series of specious lawsuits over an illusory American legacy. Then, playing on the greed of dozens of investors, she skillfully manipulated the French courts to perpetrate a fraud that would last for twenty years, yield millions, and make her salon one of the most dazzling in Europe until the day when the ruse was finally found out. The third case is that of Henriette Caillaux, the wife of an important leader in the Radical party. She admitted shooting Gaston Calmette, the influential newspaper editor who had been carrying out a campaign of vilification against her husband. But when she was tried for the murder in 1914, Henriette was found innocent and allowed to go free. The sensational trials of Marguerit Steinheil, Thérèse Humbert, and Henriette Caillaux mirrored in many the stalemate society of the Belle Epoque itself. By examining the hypocrisy of justice in the Third Republic, Benjamin Martin uncovers the vast extent of that society's corruption, the amorality and sordidness that were cloaked only partially by the mantle of respectability.
"This book is about the people of Europe between 1870 and 1945. It is particularly concerned with the effect of political and economic events upon the lives of ordinary people. The author tries to draw a balance between treatment of issues which affected Europe as a whole and those which were peculiar to one country, or group of countries." [Back cover].
Mary McAuliffe’s Dawn of the Belle Epoque took the reader from the multiple disasters of 1870–1871 through the extraordinary re-emergence of Paris as the cultural center of the Western world. Now, in Twilight of the Belle Epoque, McAuliffe portrays Paris in full flower at the turn of the twentieth century, where creative dynamos such as Picasso, Matisse, Stravinsky, Debussy, Ravel, Proust, Marie Curie, Gertrude Stein, Jean Cocteau, and Isadora Duncan set their respective circles on fire with a barrage of revolutionary visions and discoveries. Such dramatic breakthroughs were not limited to the arts or sciences, as innovators and entrepreneurs such as Louis Renault, André Citroën, Paul Poiret, François Coty, and so many others—including those magnificent men and women in their flying machines—emphatically demonstrated. But all was not well in this world, remembered in hindsight as a golden age, and wrenching struggles between Church and state as well as between haves and have-nots shadowed these years, underscored by the ever-more-ominous drumbeat of the approaching Great War—a cataclysm that would test the mettle of the City of Light, even as it brutally brought the Belle Epoque to its close. Through rich illustrations and evocative narrative, McAuliffe brings this remarkable era from 1900 through World War I to vibrant life.