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In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel's lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel's theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel's Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert. [ABSTRACT FROM AUTHOR]

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel's lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel's theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel's Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert. [ABSTRACT FROM AUTHOR]

The paper deals with a historical polemic concerning the war of Vendée during the French revolution (1793-1799) which is considered by some historians to be the first genocide of modern history. One of them, Reynald Secher, speaks about a "memoricide", which means a murder of historical memory. The paper presents this conception and then tries to verify it on the base of some historical novels written by Royalist and Republican authors all along the 19th century. The conclusion proves that historical memory of Vendée has neither been forgotten nor repressed, but on the contrary, this theme was being used by both sides in their political and ideological conflicts. [ABSTRACT FROM AUTHOR]

In the late 19th century, Argentina, a country with great economic potential, finally solved most of the political problems that had hampered its development and started to fully exploit its capabilities. Stabilization of the country, along with the willingness of European merchants and banks to invest, was the main reason for the rapid development in the production of raw materials. Grain, meat and land became the main sources of prosperity during the 1880s as well as the prerequisite for a carefree government policy. Although Argentina's disdain during the Baring crisis backfired, its development and prosperity at the turn of the century increased once again. This paper researches the consequences of the development of the Argentine export policy at the turn of the 19th and 20th centuries, its essential characteristics and the most important events that took place during the defined period that affected Argentine exports. [ABSTRACT FROM AUTHOR]

Der Aufsatz stellt die deutsche Reichsgründung von 1871 in den Kontext der Nationalstaatsbildungen in Europa seit Beginn der Frühen Neuzeit. Das Deutsche Reich, begründet als ein fester Zusammenschluss der deutschen Bundesstaaten mit Ausnahme Österreichs, schaffte es tatsächlich, einen historischen Ausgleich zwischen den partikularen Traditionen und den neueren Einheitsbestrebungen in Deutschland zu erreichen. Die hierdurch bewirkten Integrationsprozesse politischer, sozialer und wirtschaftlicher Natur festigten und stärkten den mitteleuropäischen Raum, beseitigten die durch übermäßige politische Fragmentierung bewirkten früheren Schwächen, schufen aber bis 1914 auch kein „zu starkes" Deutschland, wie spätere verfehlte Deutungen behaupteten. Auf den Integrationsleistungen der Jahrzehnte nach 1871 beruht im Kern auch noch das heutige, seit 1990 wiedervereinigte Deutschland. [ABSTRACT FROM AUTHOR]