Much of this analysis is devised through a genealogical approach to Burckhardt which places him squarely within a cohesive branch of post-Kantian thought that I have called heterodox post-Kantianism. Burckhardt reveals in this way a perspicacity that both anticipates Nietzsche's own critique of modernity and in large part moves well beyond him. Such criticisms are in fact bolstered by virtue of their counter-modern characteristic. By following and significantly expanding upon the ideas of historians such as Allan Megill, Lionel Gossman, Hayden White, Joseph Mali, John Hinde and Richard Sigurdson, among others, I am able to portray Burckhardt as conversely inaugurating a historiography laden with elements of insightful social criticism. My research explodes this conception by abandoning the presumption that Burckhardt was in some sense "out of touch" with modernity. Burckhardt is traditionally known for having served as the elder colleague and one-time muse of Friedrich Nietzsche at the University of Basel and so his ideas are often considered, by comparison, outmoded or inapposite to contemporary currents of thought. If you use any of the content on this page in your own work, please use the code below to cite this page as the source of the content.In the following study I reappraise the nineteenth century Swiss historian Jacob Burckhardt (1818-1897). Her name is derived from the same Greek root word that means to celebrate, to recount, or to make famous. She would proclaim them and recount the history of the heroes. She was considered the celebrator of history, of astonishing deeds and incredible accomplishments. Her symbols include the scroll, books, or tablets. He could be considered the embodiment of the lamentation, which was a classical Greek song genre identified as the linos.Ĭlio was sometimes called the “Proclaimer”. Linus was the poet and musician and was a sibling of Orpheus. Some accounts reveal that Clio was the mother of Linus, though he is also depicted as being the son of the other muses Calliope or Urania. Hymenaeus (also spelled Hymenaios) was the patron god of weddings and was considered one of the winged gods of love, otherwise known as the Erotes. Some myths also suggest she had another child, Hymenaeus. In some myths however, it is said that Clio had Hyacinth with king Amyclas, the forefather of Sparta. His parentage depends on the myth, but often he is considered to be Clio’s son with King Pierus or King Obealus of Sparta. She had one son, Hyacinth, who was a divine hero in Greek myth. It was believed that Clio lived with her sisters, the Muses, on Mount Parnassos or Mount Helicon. Many believed that the inspiration they required to write poetry, literature, music, or any artistic creation came from the nine Muses. The Muses were considered to be the source of inspired creation. The muses followed Apollo while he wandered Mount Helicon where they lived. Their voices, songs and dancing was meant to relieve the sorrows over the world.Īccording to some myths, Apollo, the Greek god of the sun and of knowledge. He wanted to celebrate the victory of the Olympians over the Titans and forget the hardships of life. The myth of their creation reveals that Zeus lay with Mnemosene nine times over the course of nine days to bring the Muses into the world. She is the daughter of Zeus, the sky god and leader of the Olympians, and Mnemosyne, the Titaness and goddess of memory. The Muses are nine different goddesses who are the patrons of arts, literature and the sciences. She is also often depicted holding a clarion in one hand and a book in the other. The ancient Greek word for history was derived from Kleos. Clio was the patron of history and the guitar. She is often shown holding a scroll that is open or sitting beside a chest full of books. Clio, also spelled Kleio, was one of the nine muses.
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