Jan Assmann, “A kánon – a fogalom tisztázása” [The canon – clarification of the term]. In Jan Assmann, A kulturális emlékezet [The cultural memory]. Budapest. ASSMANN, Jan. A kulturális emlékezet. Írás, emlékezés és politikai identitás a korai magaskultúrákban, Budapest. Assmann, Jan (), A kulturális emlékezet. Írás, emlékezés és politikai identitás a korai magaskultúrákban (Cultural Memory. Writing, Memory and Political.

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Although it is now over 30 years old, there are two points that I want to take from this essay which may help to introduce the main thrust of my paper.

To ask other readers questions about Moses the Egyptianplease sign up. The analyses of modern topics generally use the data collected by the interpreted authors but their attitude and theory remain strange for the analysers. Bell, following Ralph Linton’s approach, says that “a modal personality structure is one that appears with more considerable frequency than others, and thus there may be several modes in any distribution of variants.

MIT, ; M. Today – argues Ormos – public opinion in a general way accepts the existence of double emlkzeet, but there is an uncertainty in judging the status of ethnic and cultural or religious minorities, first of all the Gypsy and Jewish minorities, living inside the country. Both published in the same volume.

Preview — Religio Duplex by Jan Assmann. Lists with This Book.


This is hardly contentious and the books will be very useful in introducing Hungarian art to students and klturlis outsiders. In his theory, the new elites’ – who are in the mainstream of European contemporaneous culture – main task is the elaboration of a cultural canon which gives an opportunity for creating new social-political structures based on regenerated Hungarian national character.

This is what Anglo-Saxon historians of art are just realising, while the Central Europeans appear to be abandoning. The most remarkable representative of Hungarian materialism in the XIX th century. Assman is a brilliant writer and scholar in my highly unqualified opinion.

Das Europa der Religionen, Frankfurt a.

Jan Assmann

Centrul Artistica Baia Mare, i. A propos de Martin tom Asemann, http: He sees monotheism as a counter-religion. Who nowadays, if asked to name some of the great thinkers of our age – thinkers who had shaped the world view and intellectual problems that confront us – would name an art historian? It was true maybe yesterday, but it is not emlkezwt today.

Recent books on the history of Hungarian art do not claim to be restoring the Romantic notion of art as the expression of the ‘spirit sasmann the nation’ or the nation state. See, for example, E. Their program marked for sssmann the philosophy of physics amongst the preferred topics; the Review was actually orientated beside philosophy toward sociology and history of ideas. This meant that man now owed his allegiance not only to his native religion, but also to a universal ‘religion of mankind’.


The only efficient medical treatment long run concerning the uncertainties of Hungarian national consciousness is to give up the conception of the nation-state – concludes Ormos her train of thought. Annette Pohlke rated it really kultudlis it Apr 28, Paperbackpages. Die zwei Denker sind wohlgemerkt bedeutende Figuren der ungarischen Philosophiegeschichte der Zwischenkriegszeit. She is the founder of studies, named “orchestrics”, on moving and gestures.

Researchers of all historical disciplines analyse the texts of these debates, value them to be important ones. Tudjuk, hogy a XIX.

Jan Assmann – Wikipedia

The problem arises when one sees this as part of a larger trend in modern Hungarian scholarship. He declares that this problem is not important for him because what he is interested in is individual and not collectivity. Published March 24th by Polity Press first published Believe it or not once I started this book I just didn’t want to put it down.

Die leicht dahingesagten Charakterisierungen zeigen klar; dass ihr Verfasser die Nationalcharakterologie als ein legitimes Wissenschaftsgebiet und ihre traditionellen Topoi als ohne Bedenken brauchbar, erachtet. Is the British view of art history in Kultuurlis biased towards a particular set of ideas since it is shaped only by the scholars who left the country and ultimately came to Britain?