There had been interesting interactions between philosophical reflections, technical developments and the work of artists, poets and designers, starting especially in the 1950s and 1960s with a stimulating cell in Stuttgart and Ulm in Germany spreading mutual international interactions. The paper aims to describe the philosophical background of Max Bense with his research on the intellectual history of mathematics and the upcoming studies on technology and cybernetics. Together with communication theories and semiotics, new aesthetics such as cybernetic aesthetics had been (...) worked out, based on the notions of information and sign. This background stimulated international students, artists and researchers from different creative disciplines for methodical approaches leading to first computer art experiments. The interrelations in these fields with Latin America are in the focus of these studies. Students, artists, and poets from Latin America, especially Brazil, came to Germany for studies and exhibitions in the creative scientific cell around Max Bense. Some of them stayed in Europe, but the exchange developed also in the opposite direction, traveling to and working in Latin America. Some of those fruitful international interrelations will be described and reflected. (shrink)

This introduction places the forum contributions in the wider context of the “spatial turn” within the humanities and social sciences. Following a survey of the historical trajectories of the field, a review of impulses from different disciplines, and a sketch of general developments over the last few decades, the editors exemplify key approaches, methods, and conceptual advances with reference to gender studies. The focus then turns to the structure, main themes, and specific contents of this collection, which features both case (...) studies and theoretical reflections. In conclusion, the essay underlines the significance and further potential of the “spatial turn.”. (shrink)

This volume challenges the view that women have not contributed to the historical development of political ideas, and highlights the depth and complexity of women’s political thought in the centuries prior to the French Revolution. -/- From the late medieval period to the enlightenment, a significant number of European women wrote works dealing with themes of political significance. The essays in this collection examine their writings with particular reference to the ideas of virtue, liberty, and toleration. The figures discussed include (...) Christine de Pizan, Catherine d’Amboise, Isabella d’Este, Elizabeth I, Katherine Chidley, Elizabeth Poole, Margaret Cavendish, Damaris Masham, Mary Astell, Elizabeth Carter, Catharine Macaulay, Mary Wollstonecraft, and Cornélie Wouters. These women actively contributed to the political practice and discourse of their times. Some of the women question their exclusion from political power and argue in favour of women’s virtue, prudence, and capacity to govern. Others aim to demonstrate women’s spiritual equality with men, to defend liberty of conscience, and to highlight the importance of education as a means to moral development. And some women explore the notion of female citizenship or attempt to come to terms with issues of religious freedom and religious toleration. -/- Virtue, Liberty, and Toleration serves as an introduction to a rich and as yet under-explored period in the history of women’s ideas. (shrink)

Quelle est donc la lecon des faits? Qu'Abelard fut le premier homme moderne? Qu'Heloise fut la premiere femme moderne? Nous nous contenterions de bien moins: qu'au moment d'enfermer le Moyen Age ou la Renaissance dans une de ces definitions brillantes qui leur sont cheres, les historiens de la litterature se souviennent de cette folle petite Francaise, hantee par l'ideal de la grandeur romaine comme par celle de la grandeur chretienne, qui ne sut jamais au juste si elle etait l'Eustochium d'un (...) nouveau Saint Jerome ou la Cornelie d'un nouveau Pompee, et qui, prenant le voile a Argenteuil pour l'amour d'un homme, se consacra pour toujours a Dieu en recitant des vers de la Pharsale. Car enfin, ce drame passionnel est bien une histoire du XIIe siecle. On peut le lire comme une histoire chretienne et c'en est veritablement une. (shrink)