Academic literature on the topic 'ANTHROPOMORPHIC METAPHORS'
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Journal articles on the topic "ANTHROPOMORPHIC METAPHORS"
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Stroganova, G. O. "ANTHROPOMORPHIC METAPHORS OF GERMAN ECONOMIC MEDIA." Linguistic and Conceptual Views of the World, no. 65 (1) (2019): 173–78. http://dx.doi.org/10.17721/2520-6397.2019.1.19.
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The paper is devoted to the research of anthropomorphic metaphors in German economic media discourse. The main types of anthropomorphic metaphors in German economic media discourse are distinguished. Metaphors representing the economy as a biological, social and spiritual being are considered as anthropomorphic metaphors.
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Bratož, Silva. "The Anthropomorphic Metaphor in Slovene and English Wine Tasting Discourses." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (2013): 23–35. http://dx.doi.org/10.4312/elope.10.1.23-35.
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The language used to describe the tastes of various wines ranges from specific references to chemical, vegetal and mineral components to a wealth of diverse metaphorical constructions. This paper explores the use and characteristics of the anthropomorphic metaphor in wine reviews from a cross–linguistic perspective. The theoretical framework relies on the cognitive approach to metaphor, most notably on the conceptual theory of metaphor. The case study presented is focused on the conceptual metaphor WINE IS A HUMAN BEING and its linguistic realisations in a corpus of wine reviews collected from selected Slovene and English sources. A number of metaphors will be examined with respect to their level of conventionality, from metaphorically motivated terminology to novel linguistic metaphors. It will be argued that despite some variations in the way metaphors are realised in English and Slovene wine discourses, there is a large overlap in the way the two languages conceptualise the taste of wine through the anthropomorphic metaphor.
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Jamzaroh, Siti. "JENIS DAN BENTUK METAFORA DALAM KISDAP “JULAK AHIM” KARYA JAMAL T. SURYANATA." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 14, no. 1 (2019): 48. http://dx.doi.org/10.26499/und.v14i1.1135.
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This research is aimed to find out 1) to know the type of metaphor of Kisdap "Julak Ahim" (2) to describe the metaphoric function in that contained in Kisdap "Julak Ahim" The method used in this research is qualitative descriptive. Data collection is done by reading technique and record technique. Furthermore, the data are classified based on the metaphorical characteristics shown. Data analysis is done by contrasting the expression data used with the metaphor. The results found are: 1) The type of metaphor found based on 1.1) its constituent elements in kisdap "Julak Ahim" is a) the animal metaphor (2); b) the synesthesia metaphor (1); c) anthropomorphic metaphor (2); and d) concrete-abstract metaphor (2); 1.2) based on its structure, there are a) subjective and complementary nominative metaphors and b) sentence metaphors.
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Tarwiyah, Siti. "Indonesian and English Lexical Metaphoric Expressions Used In Online Competition News Text." Register Journal 9, no. 1 (2016): 13. http://dx.doi.org/10.18326/rgt.v9i1.13-23.
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The subject of this article deals with discourse semantics. The focus of its description is metaphoric expressions used to express competition news in online media. Based on some theories about metaphor, the writer tries to search for kinds of metaphoric expressions used and the reasons behind the use of the expressions. The result shows that English and Indonesian language use lexical metaphors with three specifications, i.e. anthropomorphic, animal, and synesthetic. The choice of specific lexical metaphoric expressions is related to situational and cultural aspects.
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Tarwiyah, Siti. "Indonesian and English Lexical Metaphoric Expressions Used In Online Competition News Text." Register Journal 9, no. 1 (2016): 13. http://dx.doi.org/10.18326/rgt.v9i1.514.
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The subject of this article deals with discourse semantics. The focus of its description is metaphoric expressions used to express competition news in online media. Based on some theories about metaphor, the writer tries to search for kinds of metaphoric expressions used and the reasons behind the use of the expressions. The result shows that English and Indonesian language use lexical metaphors with three specifications, i.e. anthropomorphic, animal, and synesthetic. The choice of specific lexical metaphoric expressions is related to situational and cultural aspects.
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Materynska, Olena. "Translating anthropomorphic metaphors of war: an ecolinguistic approach." SHS Web of Conferences 105 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110501004.
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This paper explores the formation of the anthropomorphic image of war in German and Ukrainian, highlighting the primary associations connected with the concept "war", revealing the influence of mass media on the deeply rooted patterns of anthropomorphic metaphor and discussing semantic aspects of its translation. The data was derived from the German and Ukrainian mass media (2014-2021) and verified within the framework of the sociolinguistic experiment, word association test to investigate the conceptualisation of war by the speakers of both languages in order to show that the choice of equivalents while translating publications about war should correspond to the socio-cultural dimension of a particular speech community, maintaining the ecolinguistic balance. Fifty respondents (25 German-speaking and 25 Ukrainian-speaking) aged from 18 to 50 (and above) were questioned, forming the focus-group for the pilot survey. The semantic and contextual analysis of the media publications, the conducted survey explicated that the main conceptual metaphorical and metaphtonymical patterns forming the anthropomorphic representation of war are used to revise the main principles of intercultural relations and proclaim the new age of the posthuman ethics underlining the inconsistency of war for the human nature. It was found out that the anthropomorphic metaphor is a means of media influence awaking the ecolinguistic consciousness, changing the translator's role to that of a mediator and peacemaker. Differences in the conceptualisation of war in German and Ukrainian can provoke misunderstanding or an inevitable semantic loss while translating anthropomorphic metaphors.
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Schoeneborn, Dennis, Steffen Blaschke, and Ina Maria Kaufmann. "Recontextualizing Anthropomorphic Metaphors in Organization Studies." Journal of Management Inquiry 22, no. 4 (2012): 435–50. http://dx.doi.org/10.1177/1056492612448463.
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Ana, Deby, I. Wy Dirgeyasa, and Morada Tetty. "METAPHORS OF WAK UTEH’S SONGS." LINGUISTICA 8, no. 3 (2019): 165. http://dx.doi.org/10.24114/jalu.v8i3.14635.
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This study dealt with metaphors of Wak Uteh’s Songs in Tanjungbalai. The objectives of the study were to investigate the types of metaphors and the cultural meaning of metaphors in wak uteh’s songs in Tanjungbalai. This study was conducted by using descriptive qualitative method. This data of this study was words, phrases, and utterances that contained metaphors in Wak Uteh’s Songs in Tanjungbalai. The source of data were lyrics of 10 songs of Wak Uteh’s songs. The data were selected by using random sampling system. For collecting data, this study used the method of documentary technique. The instrument of this study is documentary sheet. The findings showed that there were four types of Metaphors used in Wak Uteh’s Songs consecutively, Synaesthetic Metaphors (4%), Anthropomorphic (13%), Animal (20%), and Concrete to Abstract (63%). The cultural meanings of the metaphors found in the lyrics of Wak uteh’s songs were literary ones over all about the conditions of social life, economy, and culture from Tanjungbalai Malay life in coastal areas. For example in Anthropomorphic Metaphor is “ambil lah duet seringgit puntong, untuk mamboli kain pandukong (silaule, line 11) as the meaning in the cultural meaning is “Taking a piece of dollar for buying a sling”. So, in this lyric told about the parents ordered someone to take the enough money to buy a sling, Ringgit was a monetary unit that was used by Malay people in Tanjungbalai in long time. Keywords: Metaphors, Tanjungbalai, Wak Uteh’s Songs
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Juzelėnienė, Saulė, Viktorija Seredžiūtė, and Skirmantė Šarkauskienė. "Anthropomorphic Metaphors of time in Modern Lithuanian Poetry." Respectus Philologicus 22, no. 27 (2012): 167–79. http://dx.doi.org/10.15388/respectus.2012.27.15345.
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Time is one of the most important categories related to human existence. Like all abstracts, the conceptualization of time is based on certain experience structures stored in our minds. Time studies in the Lithuanian language are not new—it has been analyzed in poetry, riddles and folk songs. This article aims to analyze the anthropomorphic metaphors used in contemporary Lithuanian poetry. The study material consists of samples collected from modern poetry collections.The study shows that time in Lithuanian poetry is conceptualized as a human being, having both physical and spiritual attributes, gender, and socialization. Therefore, all the anthropomorphic metaphors can be divided into a few categories: 1. Time and the Human Body, 2. Time and Movement/Action, 3. Time and Physiology, 4. Time and Gender, 5. Time and Emotion, 6. Time and Perception, 7. Time and Power, and 8. Time and Social Relations.The study reveals that time in modern Lithuanian poetry tends to have rather negative connotations. The negative connotations are mostly related to the category of Time and Emotions, and to metaphors of the Time and Power group. Negative connotations are associated with the dark periods of time: autumn, night, evening. There are only a few positive connotations; they are related to the Time and Emotion, Time and Power and some Time and Body metaphor groups. In modern Lithuanian poetry, certain signs of opposition, reflecting ambivalence in the perception of time, are displayed: time as a powerful or powerless person, time as a creator or a destroyer, time as a man or a woman, time as a stupid or smart person, time as an enjoying or melancholic person, time as a beggar or a ruler.
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Targosz, Daria. "Antropomorphic metaphors in Stefan Grabiński`s novellas." Świat i Słowo 35, no. 2 (2020): 239–50. http://dx.doi.org/10.5604/01.3001.0014.5475.
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In Stefan Grabiński’s works, the artist often uses metaphors to attribute anthropomorphic phenomena to non-human ones. This sketch is an attempt to look at examples of anthropomorphic metaphors in Stefan Grabiński`s novellas in terms of their ideological and artistic functions. The aim of this analysis is to verify whether the use of anthropomorphic metaphors is connected with attributing created worlds with non-realistic properties. For this purpose, it is worth interpreting and explaining the treatments used by the author, including their linguistic aspect, asking the question about the relation between the employed stylistic means and the effect of the created image of reality, and about the consequences of this way of constructing the world presented in Grabiński’s works.
Dissertations / Theses on the topic "ANTHROPOMORPHIC METAPHORS"
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Киреева, А. А., та A. A. Kireeva. "Когнитивная метафора в дипломатическом дискурсе (на примере речи Марии Захаровой) : магистерская диссертация". Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94626.
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Выпускная квалификационная работа посвящена изучению когнитивных метафор в дипломатическом дискурсе. Данный феномен рассматривается на примере речи официального представителя Министерства Иностранных Дел Российской Федерации Марии Захаровой. Теоретическая глава содержит описание дипломатического дискурса как феномена, смежного с другими дискурсами (политическим, масс-медийным, военным, юридическим), а также перечисление лингвистических особенностей дипломатических текстов. Автором также представлены основные положения теории концептуальной метафоры. В практической части исследование проведен лингвокогнитивный анализ метафор в речи российского дипломата Марии Захаровой. Выделены разные типы социоморфных, ориентационных, антропоморфных, артефактных метафор, которые получают когнитивную и лингвоаксиологическую интерпретацию. Выявлены наиболее частотные метафорические модели (метафоры искусства, войны, пути).<br>The final qualifying work is devoted to the study of cognitive metaphors in diplomatic discourse. This phenomenon is considered on the example of the speech of the official representative of the Ministry of Foreign Affairs of the Russian Federation Maria Zakharova. The theoretical chapter contains a description of diplomatic discourse as a phenomenon related to other discourses (political, mass media, military, legal), as well as a list of linguistic features of diplomatic texts. The author also presents the main provisions of the theory of conceptual metaphor. A linguocognitive analysis of metaphors in the speech of Russian diplomat Maria Zakharova was conducted in the practical part of the study. Different types of sociomorphic, orientational, anthropomorphic, and artifact metaphors are identified. They receive cognitive and linguo-axiological interpretation. The most frequent metaphorical model revealed (metaphors of the art, metaphors of war, metaphors of the way).
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Gipson, Lori A. "Anthropomorphia." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366388626.
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Plas, Élisabeth. "Le sens des bêtes. Rhétoriques de l'anthropomorphisme au XIXe siècle." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA111.
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Ce travail propose de lire un moment de l’histoire littéraire française à travers le prisme de l’animal, et plus particulièrement de ses représentations anthropomorphes. À partir de la littérature et de la pensée du xixe siècle, il s’agit de complexifier une définition restrictive de la notion d’anthropomorphisme en réfléchissant au statut de l’animal dans l’imaginaire romantique. L’anthropomorphisme est traditionnellement considéré comme une perception du monde naïve et spontanée et cette tendance à douer les choses et les êtres d’émotions, d’intentions ou de réactions supposées propres aux hommes repose sur un raisonnement analogique qui est à l’origine de genres littéraires aussi universels que la fable ou d’autres types d’apologues, qui héritent de ce préjugé de simplicité : l’anthropomorphisme serait ce mode de représentation non réaliste, divertissant voire comique, qui n’instruit qu’au prix d’une distorsion de la réalité. Au xixe siècle émerge une nouvelle conception de l’animal, en rupture avec celle de l’âge classique. L’histoire naturelle et la pensée romantique découvrent des parentés profondes entre l’homme et l’animal, qui donnent à l’anthropomorphisme un fondement épistémologique et philosophique, mais aussi affectif et politique, puisque l’idée d’une continuité entre les vivants est l’un des piliers de l’argumentation républicaine en faveur de la protection, puis du droit des animaux, depuis la période révolutionnaire. À partir d’un corpus littéraire, philosophique et scientifique, et d’une attention à l’histoire des animaux, de leur statut et de leurs traitements, ce travail voudrait dresser un panorama des paradigmes analogiques par lesquels les hommes ont pensé leurs liens aux animaux dans la première moitié du xixe siècle. Cette période apparaîtra ainsi comme un moment important de la reconfiguration du symbolisme animal, qui invente une forme d’allégorie réaliste, conciliant souci de l’animal et confiance en l’analogie<br>This work attempts to read a moment of French literary history through the lens of animals, and more specifically anthropomorphic representations of them. From the 19th literature and thought, it will put forward a less restrictive definition of the notion of anthropomorphism by considering the status of animals in the romantic imaginary. Anthropomorphism is traditionally perceived as a naïve and spontaneous perception of the world. This tendency to endow things and beings with emotions, intentions or reactions supposedly inherent to humans is based on an analogical thinking that underlies literary genres as universal as fables or other kinds of apologues, that are also seen as simple, as if anthropomorphism was only this non-realistic, entertaining and even comical, mode of representation, that educates only thanks to a distortion of reality. During the 19th century, a new conception of animals emerges, breaking with the classical era. Natural history and romantic philosophy discover deep similarities between men and animals, that provide anthropomorphism with an epistemological and philosophical basis, but also affective and political ones, since the idea of a continuity between the being is one of the pillars of republican thinking on animal protection and animal rights since the Revolution. Looking at literary, philosophical and scientific texts, but also at the history of animals, at their status and treatments, this work would like to provide an overview of analogical paradigms through which men have conceived their relationships with animals over the first half of the 19th century. This period will therefore appear as an important moment of the reconfiguration of animal symbolism, inventing a type of realistic allegory, combining the concern for animals and a faith in analogical thinking
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Holtzen, William Curtis. "Dei Fide: a relational theology of the faith of God." Thesis, 2007. http://hdl.handle.net/10500/2550.
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Relational theology became a major voice in the theological conversations of
the twentieth century and now in the twenty-first century it is poised to become the
major influence in doctrine of God discussions. Relational theology argues for a
model of God that emphasizes a dynamic interaction between God and the cosmos.
Reformulating the divine nature contra Classical theism, Relational theology instead
includes images of God as sympathetic, mutable, limited in power and knowledge,
creative, and as a risk-taker. The assertion is that such images or metaphors for the
divine are necessary rightly to understand and discuss God's relationality with the
world. This thesis argues that given the relational nature of God the metaphor of faith
should be added to the list of God's attributes.
The thesis begins by discussing issues of methodology then reviewing
Relational theology in the forms of process and open theism as contrasted with
Classical theism. This is followed by explorations of various depictions of faith as
found in the Old Testament and New Testament. Faith is also examined theologically
and philosophically as including the elements of belief, trust, hope, and risk. It is then
argued that faith has a decidedly relational nature in that faith most properly takes
place between persons.
The crux of the thesis is the development of a theology of divine faith.
Because humans are free, God is limited, and creation has a purpose, the argument is
made that God relates to the world through faith. A case for God's faith is developed
exegetically and logically through explorations of the concepts of divine belief, trust,
hope, risk, and doubt, concluding that faith is a necessary inclusion for Relational
theology.
Finally, two primary Church doctrines, creation and christology, are explored
through a theology of divine faith. God demonstrates divine faith in bestowing an
evolving creation with both freedom and a purpose. God has faith in the creation to
produce persons who can freely share faith and love with God. The fully kenotic coming of Jesus Christ demonstrates the Father's faith in the Son, the second person
of the triune God. The coming and death of Christ also reveals God's faith that the
cross will be efficacious in reconciling those who have abused their God-given
freedoms.<br>Sysytematic Theology & Theological Ethics<br>D. Th. (Systematic Theology)
Books on the topic "ANTHROPOMORPHIC METAPHORS"
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In the eyes of God: A metaphorical approach to biblical anthropomorphic language. Pickwick Publications, 2013.
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Maëstre, André Espiau de La. Anthropomorphisme et métaphorique: Baudelaire-Claudel. Braumüller, 1989.
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Haskell, Ellen. A Composite Countenance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636647.003.0007.
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The thirteenth-century Spanish Jewish mystical classic Sefer ha-Zohar is known for its elaborate divine imagery. This chapter explains how the Zohar invests the traditional anthropomorphic metaphor of the divine countenance with new meaning in order to define both divine and human faces as sites of spiritual revelation and transformation. The Zoharic authors’ goals are twofold. First, the mystics’ own human faces are divinized, becoming vehicles of mutual revelation accessed through spiritual fellowship. Second, the divine face is defined as an abstraction beyond human understanding, since human features are but one fragment of a transcendent whole that inspires contemplation through unusual image juxtapositions. This dual usage mirrors the Zohar’s broader mystical theology, which understands God as both revealed to and concealed from human beings. Further, reworking an ancient divine metaphor from within by manipulating its metonymic associations allows the mystics to transform their religious culture without overtly defying traditional scriptural authority.
Book chapters on the topic "ANTHROPOMORPHIC METAPHORS"
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Osbeck, Lisa M., and Nancy J. Nersessian. "Beyond Motivation and Metaphor: ‘Scientific Passions’ and Anthropomorphism." In EPSA11 Perspectives and Foundational Problems in Philosophy of Science. Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01306-0_37.
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Daston, Lorraine. "How Nature Became the Other: Anthropomorphism and Anthropocentrism in Early Modern Natural Philosophy." In Biology as Society, Society as Biology: Metaphors. Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-011-0673-3_3.
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"10 Anthropomorphic Maps: On the Aesthetic Form and Political Function of Body Metaphors in the Early Modern Europe Discourse." In The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts. BRILL, 2015. http://dx.doi.org/10.1163/9789004275034_012.
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Rong, Marit. "Himmelfortellinger i barnelitteratur. Hvordan fremstilles Gud i møte med døden?" In Oppvekst og livstolkning. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.107.ch1.
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This chapter takes its starting point in two books for children, Sommerlandet (Skeie, 1987) and Mor og far i himmelen (Walgermo, 2009), which tell about intense grief and challenge easy and commonplace ways to talk about the Christian hope for eternal life. I discuss the metaphors used to provide comfort and hope to children, youth and adults, and how the authors approach existential issues related to death, grief and hope. I also ask how these concepts of God influence people’s images of God when grieving, and especially how children, through their logical reasoning, challenge the common Christian comfort of eternal life in heaven as an answer to grief. I argue that metaphorical theological language may convey notions of God’s transcendent world because it is open to different interpretations of life. Metaphorical models of “heaven”, “God images, “God’s family” and “heavenly reunion” are centered. I conclude that both children and adults share a common, often anthropomorphic, understanding of God metaphors, and the wish for a continued life in heaven is desirable to many people, not only practicing Christians.
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Holtzman, Livnat. "Introduction." In Anthropomorphism in Islam. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748689569.003.0001.
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This chapter introduces the corpus of aḥādīth al-ṣifāt and its role in shaping the traditionalistic definition of anthropomorphism through the case-study of an anthropomorphic tradition attributed to Mujahid, one of the earliest Quran exegetes. According to this tradition, the ‘honourable station’ (maqām maḥmūd) which is mentioned in Quran 17:79, denotes that the Prophet Muhammad will sit on the heavenly throne with God. This marginal tradition which was rejected by the majority of the traditionalists became an iconic text due the relentless efforts of the Baghdadian Hanbalites of the ninth and tenth centuries. The Hanbalites toiled to prove the antiquity and the authenticity of the text, while using an array of rhetorical devices to promote this text and sanctify it. Thus, Abu Bakr al-Marwazi (d. 888), who was Ahmad ibn Hanbal’s (d. 855) foremost disciple, used to illustrate Muhammad’s sitting on the throne by standing up and sitting down. This gesture conveyed the Hanbalite creed that Muhammad’s sitting on the throne was actual rather than metaphoric. The political events that accompanied this anthropomorphic text are also surveyed in this chapter.
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Holtzman, Livnat. "Gestures and Aḥādīth al-Ṣifāt." In Anthropomorphism in Islam. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748689569.003.0004.
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This chapter spotlights the gestures (ishāra pl. ishārāt) which the teachers of Hadith (muḥaddithūn) performed while transmitting aḥādīth al-ṣifāt. The use of gestures in the context of aḥādīth al-ṣifāt entailed doctrinal and theological implications, and was in itself a matter of dispute. The performers of gestures among the muḥaddithūn of the seventh and eighth centuries, like Thabit al-Bunani (d. 740) and Harmala ibn ʿImran (d. 777) attributed the gestures to the Prophet and the ṣaḥāba. These muḥaddithūn perceived the gestures as iconic, namely gestures that display a concrete scene. The muḥaddith who in particular promoted the trend of performing gestures was Hammad ibn Salama (d. 784), and this chapter elaborates on his scholarly activity and public performances. Finally, this chapter evaluates the hermeneutical solutions to the gestures that accompanied the recitation of the anthropomorphic verses in the Quran and aḥādīth al-ṣifāt. These solutions were offered by the Hadith scholars who were active between the eleventh and the thirteenth centuries. These scholars, who were mostly Ashʿarites, tended to interpret the gestures as metaphoric, namely gestures representing abstract concepts. The chapter concludes with the unique discussion of the Hanbalite Ibn al-Jawzi (d. 1201) on the topic of gestures and aḥādīth al-ṣifāt.
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"Knowing Quanta: Anthropomorphic Metaphor in Popularizations of Quantum Theory." In Reading Popular Physics. Routledge, 2017. http://dx.doi.org/10.4324/9781315245263-12.
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Mutter, Matthew. "“The World was Paradise Malformed”: Poetic Language, Anthropomorphism, and Secularism in Wallace Stevens." In Restless Secularism. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300221732.003.0002.
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That Stevens’s poetry repeatedly returns to the death of God as a condition of existential vertigo is a scholarly commonplace, but this chapter argues that for Stevens, language itself harbors a dangerous bias toward transcendence. Stevens is mistrustful of the way metaphor slides into metaphysics, the way an analogical worldview becomes a theological one, and the ways in which signs and symbols tend to refer solid, immanent things to supersensible narratives or “meanings.” In the face of this danger, he develops a poetics of tautology meant to divest language of such bias. Yet later in his career, this chapter contends, he returns to analogy as a mode of transcendence-in-immanence, and establishes a concept of “description without place” in which imagined goods, which have no immanent existence, correspond to details of a particular scene. Stevens is, in other words, working out a version of Nietzsche’s famous claim that we are not rid of God until we are rid of grammar while simultaneously harnessing the religious possibilities of language.
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Desmond, Will D. "History, Cosmos, Mind, and (Not Quite) Everything." In Hegel's Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198839064.003.0006.
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Hegel’s Lectures on the Philosophy of History explore the legacies of ancient history and historiography, at the levels of both theory and empirical detail. Their threefold typology of histories into ‘original’, ‘reflective’, and ‘philosophical’ constitutes a concise argument that history has and must, in the course of its development, become theoretical, and that therefore history and philosophy have essentially converged in the modern era—not least in Hegel’s own deeply historical style of thinking. With their vision of a Spirit that develops through four essential stages of the ‘Oriental’, Greek, Roman and ‘Germanic’ worlds, these lectures reveal that, for Hegel, the middle (Greek and Roman) stages are pivotal to the story of progressive human freedom and self-knowledge. The Mediterranean as the ‘middle sea’ (Mittelmeer) is a central historical fact and metaphor for Hegel (long before Braudel), and it was as peoples of the Mediterranean that his Greeks and Romans proved so historically significant—the Greeks with their humanistic art, anthropomorphic religion, philosophical depth, and ‘invention’ of history as a genre; the Romans with their law, inclusive citizenship, universal histories, inclusive empire and pantheon, and ultimately Christianity. This narrative is, in many respects, simply Hegel’s systematization of a long-held consensus. It also looks forward to the even grander narratives of global and ‘big history’, which temporalize the notion of ‘evolution’ and extend it from (human) ‘Spirit’ to all of nature. If so, this serves as a reminder that many facets of Hegel’s antiquity have been revived in new, unexpected forms.