In his painting of Martha and Mary Magdalene, Caravaggio depicted the two sisters of Lazarus as engaged in a serious conversation. On the one hand Martha is rebuking Mary Magdalene. On the other hand, Mary is responding in that she turns a mirror towards her older sister. The aim of this article is to elucidate how this reciprocal conversation reflects post-Trent propaganda. Martha represents a group of believers that remained within the Catholic Church but did not embrace the changes implemented (...) by the leaders of the Catholic Reformation. Mary Magdalene represents the reformed church that acknowledged, accepted, and implemented the decisions of the Council of Trent. The difference between the two sisters is not in their faith. They differ in their reaction. For Martha, faith was blind. For Mary Magdalene faith is an outcome of the deeds of Christ. Martha believed in Christ and continued to act according to tradition. Magdalene’s reaction is related to gaining knowledge and change, which is what the Catholic Reformation is all about. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 555-569.

This essay offers a political reading of the artistic choices made by seventeenth-century painters in their depictions of the heroines of Tasso’s Jerusalem Delivered. It discusses the political subtext of Tasso’s epic poem by exploring the roles Tasso assigns to his oriental heroines and their representation in seventeenth-century paintings. Painters and patrons alike were particularly enthusiastic about the love stories that developed around Jerusalem. But Tasso is promoting a crusade, and the visual focus of later painters on Tasso’s seductive female (...) protagonists and their submission to Christian warriors, suggests that their aim was to display the delights that await those who join a military expedition to conquer the Holy Land. (shrink)

Das systematische Problem „schlechter Unendlichkeit“, als dessen Überwindung die hegelsche Philosophie angetreten ist und das als solches weit über seinen Ursprung im Deutschen Idealismus hinausgeht, wird in dieser Arbeit rekonstruiert. Als dialektische Figur hat sie die Philosophie Hegels in ihrer kritischen Auseinandersetzung mit Kant, Fichte und der Romantik tiefgreifend geprägt. Schelling und Kierkegaard wiederum kritisieren, dass bei Hegel diese Figur eines scheiternden affirmativen Selbstbezugs nicht auf seine logische Struktur beschränkt bleibe, sondern auf die Beschreibung des neuzeitlichen Geistes übergreife, weshalb Hegel (...) in seinem eigenen System keine eigentliche Ethik und kein verantwortliches Selbst mehr denken könne.0. (shrink)