scholarly journals Memento: Étienne Bonnot de Condillac

Diacronia ◽  
2017 ◽  
Author(s):  
Adina Chirilă
Keyword(s):  
Etienne Bonnot De Condillac

scholarly journals A ORIGEM DOS CONHECIMENTOS HUMANOS NO CONTEXTO DOS ESTUDOS INFORMACIONAIS

2019 ◽  
Vol 5 (2) ◽  
pp. 55-71
Author(s):  
Luciana Gracioso
Keyword(s):  
Etienne Bonnot De Condillac

Historicamente os estudos da informação se relacionam diretamente com os estudos da linguagem. Recentemente, entra nesse cruzamento, a tecnologia. Procurando identificar caminhos que possam servir aos estudos informacionais para refletir e construir suas estruturas de linguagem para mediação do conhecimento, é desenvolvido um ensaio sobre qual seria o lugar da linguagem na obra “Ensaio sobre a origem dos conhecimentos humanos” (1746), de Étienne Bonnot de Condillac (1715 – 1780). Procura-se, ao final, defender as perspectivas do filósofo como um dos pontos de partida prévios que poderiam também ser assumidos pela Ciência da Informação para distinguir aquilo que atualmente concebemos como linguagem, conhecimento e uso da informação.

scholarly journals Tradução: Dissertação sobre a liberdade (Étienne Bonnot de Condillac)

2017 ◽  
Vol 5 (5) ◽  
Author(s):  
Guilherme Augusto Guedes ◽  
Nelson Carvalho Neto
Keyword(s):  
John Locke ◽  
Rene Descartes ◽  
René Descartes ◽  
Etienne Bonnot De Condillac

É célebre o raciocínio “Penso, logo existo”, enunciado pelo filósofo francês René Descartes (1596-1650) na quarta parte de seu Discurso do Método, como sendo o primeiro princípio de sua Filosofia. Além de não podermos duvidar que o sujeito que pensa existe, para Descartes a mente humana é dotada de certas ideias, impressas por Deus, que lhes são inatas. Um dos primeiros a criticar a teoria do conhecimento e o inatismo cartesiano foi o filósofo inglês John Locke (1632-1704), porém, foi seu discípulo francês Étienne Bonnot de Condillac (1714-1780) quem esboçou as críticas mais radicais contra o sistema filosófico de Descartes.

The Invention of National Languages

2006 ◽  
Author(s):  
Otto Dann
Keyword(s):  
Eighteenth Century ◽  
Social Movement ◽  
John Locke ◽  
Political Identity ◽  
Western World ◽  
Johann Gottfried Herder ◽  
Philosophical Discourse ◽  
Ethnic Consciousness ◽  
Etienne Bonnot De Condillac ◽  
National Languages

In the second half of the eighteenth century, a qualified kind of ethnogenesis can be observed among the educated classes of the Western world. In the course of their social emancipation a new political identity emerged, one orientated towards the fatherland, the state, and its population. This new ethnic consciousness bridged older identities such as estate, profession or religion. It originated in connection with the great eighteenth-century social movement of patriotism, which became more and more politicised. The philosophical discourse about the nature of language, which had existed since antiquity, intensified immensely during the eighteenth century. John Locke and George Berkeley in Britain and Étienne Bonnot de Condillac in France provided important stimuli in this respect. Johann Gottfried Herder was the first to take vernacular languages and popular poetry seriously as expressions of the culture of illiterate peoples. This chapter examines how national languages were invented and looks at the divergent situations in which the first national languages were used in Europe.

ALIGNMENT, ABSORPTION, ANIMATION: PANTOMIME BALLET IN THE LOMBARD ILLUMINISMO

2011 ◽  
Vol 8 (2) ◽  
pp. 239-259 ◽  
Author(s):  
ELLEN LOCKHART
Keyword(s):  
Focal Point ◽  
Linguistic Theory ◽  
Language Reform ◽  
Political Boundaries ◽  
Cesare Beccaria ◽  
Etienne Bonnot De Condillac

ABSTRACTThis article investigates the theme of statuary animation within pantomime and language reform, particularly in Milan between the 1760s and the 1790s. Its focal point is a little-known work created by Florentine choreographer Gasparo Angiolini for the new Teatro alla Scala in 1782: his didactic ‘philosophical ballet’ La vendetta spiritosa, based on the Traité des sensations by Étienne Bonnot de Condillac (in Venice the work was given as La vendetta ingegnosa o La statua di Condilliac [sic]). During the last decades of his career, informed by French linguistic theory and by Milanese writers such as the Verri brothers and Cesare Beccaria, Angiolini aimed to create an unmediated music-gestural language that could overcome linguistic and even political boundaries. The project had significant implications for the use of representative sound, both in music and in language. I examine the development of the impulse towards gestural mimesis and through-composition within scores for the danza parlante, including by Angiolini himself.

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