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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]

Food and nutrition are topics constantly covered, in various forms, in the media, both in fiction and non-fiction areas. New approaches and associations have recently emerged in the media coverage of this broad issue, with topics such as healthy eating, sustainable nutrition, various dietary trends, risks associated with nutrition or, general speaking, lifestyles, treatment and attitudes towards animals intended for consumption, environmental damage, etc. currently representing themes addressed in the media as frequently as recipes, dietary recommendations, plant cultivation and animal husbandry, as well as traditional dishes and culinary habits. This paper presents the results of a comparative study on the media coverage of nutrition in Romania and Germany. The research, based on a content analysis of online thematic press articles from the two countries, covers a period of three years (2014--2016). The main research objectives pursued in the study are identifying the most relevant aspects regarding both the content and the form of media coverage of the topic of nutrition, and making comparisons in these respects. The paper particularly discusses the similarities and differences between the two countries as regards the media construction of the issue of food as a general concern. [ABSTRACT FROM AUTHOR]

Abstract: E. Kraepelin begins, in Germany, his psychiatric formation in 1877. Pupil of Wundt and von Gudden, he becomes professor at Dorpat (Estonia) in 1886 and then at Heidelberg (1891) and at Munich (1903), where he founds in 1917 the first autonomous psychiatric research institute. His works consist in his textbook and 200 articles on social, legal and comparative (cross-cultural) psychiatry and on experimental psychology. He also wrote an historical book on “Hundred years of psychiatry” (1918), some poems and political papers subject to controversy after the 1st World War. [Copyright &y& Elsevier]