This study investigated how young Italian people experienced the period of peak spread of COVID-19 in their country by probing their emotions, thoughts, events, and actions related to interpersonal and community bonds. This approach to the pandemic will highlight social dimensions that characterized contextual interactions from the specific perspective of Community Psychology. The aim was to investigate young people's experiences because they are the most fragile group due to their difficulty staying home and apart from their peers and because they (...) are, at the same time, the most potentially dangerous people due to their urge to gather in groups. The research involved 568 university students, 475 females, and 93 males, with an average age of 21.82 years. The collected data were analyzed with the Grounded Theory Methodology, using the Atlas 8.0 software. From the textual data, representative codes were defined and grouped into 10 categories, which reflect the individuals' prosocial attitudes, behaviors, and values. These categories formed three macro-categories, called: “Collective Dimensions,” which includes Connectedness, Solidarity, Italian-ness, Social Problems, and Collective Mourning; “Prosocial Orientation,” which includes Trust and Hope; and “Collective Values,” which includes Values of Freedom, Respect of Social Rules, and Civic-Mindedness. All these macro-categories are indicative of the shared feelings experienced by Italians during the first time of the pandemic. Further practical implications of these results will be discussed, including a consideration of the risk of developing distress and improving well-being, as well as promoting preventive behaviors. (shrink)

The study investigates how the territorial community can influence the individual and social well-being of lesbian, gay, bisexual youth and especially the recognition of their feelings and the construction of their own identity as well as their needs to be socially recognized. This research focuses on the experiences of 30 LGB individuals, with a mean age of 25.07 years, living in urban and rural areas of Southern Italy. Focalized open interviews were conducted, and the Grounded Theory Methodology, supported by the (...) Atlas.ti 8.0 software, was used for data analysis. The textual material was first coded, and then codes were grouped into five macro-categories: Freedom of identity expression in the urban and rural context, identity construction and acceptance process, need of aggregation and identification with the LGB community, role of the interpersonal relationship in the process of identity acceptance, socio-cultural context, and LGB psychological well-being. The results showed a condition common to the two contexts that we can define as “ghettoization.” The young LGB is alone in the rural area due to a lack of places and people to identify with and greater social isolation. On the contrary, although there are more opportunities in the urban area, young people feel stigmatized and ghettoized because “their places” are frequented exclusively by the lesbian, gay, bisexual, transexual, queer community. The work will extensively discuss the limitations of the research, future proposals, and the practical implications of the results. (shrink)

This study presents the Italian adaptation of the Measure of Moral Orientation, second revision. Based on Carol Gilligan’s theory of the Ethics of Care, the MMO-2 was designed to measure two complementary moral stances, namely, Care and Justice. For this study, questionnaire responses from 683 university students were assessed against an Italian-adapted MMO-2 scale. Data were analyzed through exploratory structural equation modeling first as separate scenarios and then as a single model. The final model comprises 4 intercorrelated pairs of latent (...) variables and shows highly satisfactory goodness of fit indices with moderate construct validity and reliability. Strengths, limitations, and directions for the future developments of the MMO-2 are discussed. (shrink)

The spread of COVID-19 in Italy resulted in the implementation of a lockdown that obligated the first time the general populace to remain at home for approximately two months. This lockdown interrupted citizens’ professional and educational activities, in addition to closing shops, offices and educational institutions. The resulting changes in people’s daily routines and activities induced unexpected changes in their thoughts, feelings and attitudes, in addition to altering their life perceptions. Consequently, the present study explores how young adults perceived their (...) lives under lockdown during the final week of March 2020, when the reported number of daily coronavirus infections reached its peak in Italy. The research was carried out among 293 university students (234 women and 59 men) with an average age of 20.85 years old (SD = 3.23). The researchers asked participants to describe the emotions, thoughts and experiences that characterized their time under lockdown. The study analyzed specific narratives related to time and space using grounded theory methodology, which was applied using Atlas 8 software, leading to the creation of 68 codes. The study organized these codes into three specific categories: confined in the present, confined in the past, and striving toward one’s goals. Finally, the researchers also created a core-category labeled “continuity of being.” The results showed that the closure of open spaces caused a division in participants’ perceptions of time continuity, with many viewing themselves as feeling fragmented and as living the present in a static and fixed way. Additionally, participants also saw the present as being discontinuous from the past, while, simultaneously, projecting toward the future and the changes it might bring. Finally, this study examined further implications surrounding individual projecting among young people in greater depth. (shrink)

A simple line drawing can reproduce a vast collection of phenomenal discontinuities: optical, material, chromatic, and also of density, dimension, resistance. All these discontinuities correspond to physical realities quite different from each other. This fact leads us to consider that our brain can retrieve from a pencil stroke a broad and amazing lot information at several levels, from the physical to the phenomenological, from the logical to the cognitive. Drawing demonstrates the existence in our brain of a complex communication web (...) between the visual and action cortical areas and the zones of the paleo encephalon, indicating the biological necessity of establishing a continuity between vision and action, between representation and abstraction. Thus, drawing is a natural language, and represents a biological and expressive invariant; it is also a cultural language, the result of technical and symbolic development of a civilization; and it is, finally, an universal language, indeed the main communication system between different cultures. (shrink)

El presente artículo tiene como objetivo principal analizar el potencial heurístico de la teoría de la civilización, propuesta por Norbert Elias, para estudiar la violencia juvenil desde una perspectiva relacional y procesual. Luego de realizar breves aclaraciones respecto de ciertos términos sobre los cuales recaen las críticas en torno a su obra, se presentan tres claves de lectura. La primera se enmarca en los procesos sociogenéticos y psicogenéticos que impulsan, a lo largo del tiempo, el menoscabo del uso de la (...) fuerza física en el trato social cotidiano entre los individuos. La segunda clave hace hincapié en el conflicto generacional basado en los cambios de los equilibrios de poder entre las generaciones más jóvenes y las más viejas. Por último, se indaga sobre los posibles procesos descivilizatorios a partir del resquebrajamiento de las redes de interdependencia y el retorno de las coacciones heterónomas. El análisis realizado se centra mayormente en dos de las obras fundamentales del sociólogo alemán para comprender su teoría de la civilización: Über den Prozess der Zivilisation (1939) y Studien über die Deutschen (1989). Teniendo en cuenta sus fechas de publicación, se considera que ambas expresan el desarrollo del pensamiento procesual de nuestro autor. (shrink)

O artigo trata da esfera pública, opinião pública e liberdade de imprensa segundo G. W. F. Hegel como formas de mediação entre o estado e o indivíduo e expressão da liberdade individual ou coletiva. A partir do exame dos Princípios de Filosofia do Direito e das Lições sobre a filosofia do Direito editadas por K.-H. Ilting, afirma-se a idéia de que Hegel não foi um defensor da censura do estado autoritário prussiano, mas da liberdade de expressão do indivíduo no contexto (...) da sociedade política. (shrink)

1. Introductio generalis, logica, cosmologia.--2.Psychologia, gnoseologia, ontologia.--3. Theologia rationalis, ethica, pedagogia, aesthetica, historiologia.-4. Supplementum.

When the language-dominant hemisphere is damaged by a focal lesion, the brain may reorganize the language network through functional and structural changes known as adaptive plasticity. Adaptive plasticity is documented for triggers including ischemic, tumoral, and epileptic focal lesions, with effects in clinical practice. Many questions remain regarding language plasticity. Different lesions may induce different patterns of reorganization depending on pathologic features, location in the brain, and timing of onset. Neuroimaging provides insights into language plasticity due to its non-invasiveness, ability (...) to image the whole brain, and large-scale implementation. This review provides an overview of language plasticity on MRI with insights for patient care. First, we describe the structural and functional language network as depicted by neuroimaging. Second, we explore language reorganization triggered by stroke, brain tumors, and epileptic lesions and analyze applications in clinical diagnosis and treatment planning. By comparing different focal lesions, we investigate determinants of language plasticity including lesion location and timing of onset, longitudinal evolution of reorganization, and the relationship between structural and functional changes. (shrink)

Recent decades have witnessed a growing number of states around the world relying on border control measures, such as immigration detention, to govern human mobility and control the movements of those classified as “unauthorised non-citizens.” In response to this, an increasing number of scholars from several disciplines, including psychologists, have begun to examine this phenomenon. In spite of the widespread concerns raised, few studies have been conducted inside immigration detention sites, primarily due to difficulties in gaining access. This body of (...) research becomes even scanter when it comes to the experiences of detained women. This study is the first of its kind to have surveyed 93 women confined in an Italian immigration detention facility. A partial mediation model with latent variables was tested through partial least structural equation modelling (PLS-SEM). The findings revealed the negative impact that unfair immigration procedures have on detained women’s human dignity, which in turn negatively affects their self-rated physical and mental health. Overall, our study sheds light on the dehumanisation and damage to human dignity that immigration detention entails, as well as its negative impact on the health of those affected. This evidence reinforces the image of these institutions as sites of persistent injustice, while stressing the need to envision alternative justice-oriented forms to address human mobility. (shrink)

Contemporary art, which explodes from the borders and identifiable genres, the dance requires to be discussed in a perspective that exceeds the narrow of the sector. It is a microcosm of the world, a privileged space for observing the displacements and tensions of the contemporary world whose stake is a new posture that redesigns the body map in the society of capital and in the era of relations mediated by the mechanisms of the network. The result is a unique field (...) of analysis to explore with the work of Michele Di Stefano, one of the most interesting figures in the advanced front of contemporary choreography. Space, time and aesthetic categories mark this path of reflection. (shrink)

It is precisely through movement that the subject inscribes itself into the world and becomes visible to others. The subject is a movement directed to the outside, that is to say, the subject is desire. Desire is the “tension” toward the “extrême dehors” that we call the world. In all of his works Maurice Merleau-Ponty reaffirms, without thematizing it, a conception of life as movement, and of body as action and desire: the human being is “a certain lack of....” In (...) other words, it is the distance between myself and the absent that drives me to move, to annul the distance through motion. Thus life is nothing but the unfinished act of moving into space and thereby creating space—the space in which we, as desire and movement, encounter both others and the world. As the act of moving is the way one appears to another, every relationship is based on appearing. In short, life is the movement that leads us towards the world and coincides with our desire to make it appear.C’est précisément par le mouvement que le sujet s’inscrit dans le monde et devient visible pour les autrui. Le sujet est un mouvement dirigé au dehors, c’est-à-dire, le sujet est désir. Le désir est la « tension » vers le « dehors extrême » que nous appelons le monde. Partout, Merleau-Ponty affirme, sans la thématiser explicitement, une conception de la vie comme mouvement, et une conception du corps comme action et désir : l’homme est « un certain manque de ». En d’autres termes, c’est la distance entre moi-même et l’absente qui me force à bouger, à annuler la distance à partir du mouvement. Donc la vie n’est rien que l’acte inachevé de bouger dans l’espace et par là la création de l’espace – l’espace dans lequel nous, comme désir et mouvement, rencontrons les autrui et le monde. Comme l’action est le moyen par lequel l’un apparait à l’autre, tous les rapports sont basés sur l’apparence. En bref, la vie est le mouvement qui nous amène vers le monde et qui coïncide avec notre désir de le faire apparaître.È attraverso il movimento che il soggetto si iscrive nel mondo e diviene visibile per l’altro. Il soggetto è un movimento in direzione del “fuori”, il che significa che il soggetto è desiderio. Il desiderio è “tensione” verso quell’“estremo fuori” che chiamiamo mondo. Ovunque Merleau-Ponty riafferma, senza tematizzarlo esplicitamente, una concezione della vita come movimento, e una concezione del corpo come azione e desiderio: l’uomo è “una certa mancanza di”. In altri termini, è la distanza tra me e l’assente che mi forza a muovermi, ad annullare la distanza tramite il movimento. Dunque la vita non è che l’atto incompiuto di questo muoversi nello spazio e di questo creare lo spazio – lo spazio nel quale noi come desiderio e movimento incontriamo gli altri e il mondo. E poiché l’azione è il mezzo attraverso cui l’uno appare all’altro, tutti i rapporti sono basati sull’apparenza, e la vita è il movimento che ci conduce verso il mondo e che coincide col nostro desiderio di farlo apparire. (shrink)

Dans cette contribution nous analysons l’interprétation de Merleau-Ponty du schéma corporel et du mouvement, en relation avec les découvertes récentes en neurosciences cognitives, afin de proposer une esquisse d’une phénoménologie du politique. Plus précisément, nous nous focaliserons, d’une part, sur le concept dynamique de schéma corporel chez Merleau-Ponty et sur sa compréhension de l’intentionnalité motrice et corporelle, ainsi que sur l’image du miroir qu’il utilise souvent, notamment dans la « Note sur Machiavel », et, d’autre part, sur la théorie des (...) neurones miroirs proposée par le neurophysiologiste Giacomo Rizzolatti sur la compréhension de la compréhension. C’est précisément la figure du miroir, et les théories pertinentes sur le réflexe et les réflexions, qui constituent la clé pour relier les études phénoménologiques du corps, du mouvement et de l’empathie avec les approches neuroscientifiques sur ces mêmes questions. Le concept de miroir se révèle comme essentiel afin de comprendre le fonctionnement des neurones miroirs ainsi que la base de l’empathie, qui doit être comprise comme compréhension et imitation incarnées. L’autre se révèle comme notre miroir. Nous fournissons ainsi, suivant à la fois les théories phénoménologiques et neuroscientifiques, la preuve qu’il existe effectivement une connexion entre phénoménologie et pensée politique, ainsi qu’une communication inter-corporelle entre moi et autrui, qui peut servir de base pour développer une théorie de l’intersubjectivité en tant qu’intentionnalité corporelle partagée, voire une introduction à une phénoménologie politique. (shrink)

Far from being haphazard, Merleau-Ponty’s 1945 essay on cinema and 1953 notes on cinema for the lectures at the Collège de France are a precursor of a genuine phenomenology of cinema. Accordingly, in this paper I shall demonstrate that a phenomenology of movement and space tacitly appears in films, since cinema is the art of motion on screen and therefore the art of intersubjectivity par excellence. Moreover, I show that Merleau-Ponty’s ontological conception of the chiasm between the visible and the (...) invisible resembles the interlacing of the “two spaces” mentioned by Noël Burch. Likewise, the interpretation of the world as the “something else” that is simultaneously present and absent in every appearance corresponds, in cinema, to Alain Bergala’s “présence in absentia” of the off-screen on the screen – i.e., to the opening up of off-screen space by means of eyeline match and characters exiting and entering the frame. I finally claim that the use both of long take and depth of field, as analysed by film theorist André Bazin, and of specific camera movements, as analysed by neuroscientist Vittorio Gallese, preserves the continuity of reality and give the impression that the film is a perceptual experience that happens within reality’s space-time continuum.Loin d’être incohérent, l’essai de 1945 de Merleau-Ponty sur le cinéma et ses notes sur le cinéma pour son cours au Collège de France en 1953 sont les précurseurs d’une vraie phénoménologie du cinéma. Dans ce texte, je démontre qu’une phénoménologie du mouvement et de l’espace apparaît tacitement dans les films puisque le cinéma est l’art du mouvement à l’écran et par conséquent l’art de l’intersubjectivité par excellence. Par ailleurs, je montre que la conception ontologique de Merleau-Ponty du chiasme entre le visible et l’invisible ressemble à l’entrelacement des « deux espaces » mentionnés par Noël Burch. De même, l’interprétation du monde comme le « quelque chose d’autre » simultanément présent et absent dans toute apparition correspond, au cinéma à la « présence in absentia » du hors champ dans le champ d’Alain Bergala – à savoir l’ouverture de l’espace du hors champ par la technique du eyeline match et des personnages qui entrent et sortent du cadre. Je soutiens enfin que l’usage à la fois du plan long et de la profondeur de champ, analysés par le théoricien du cinéma André Bazin, ainsi que de mouvements spécifiques de caméra, analysés par le neuroscientifique Vittorio Gallese, préserve la continuité de la réalité et donne l’impression que le film est une expérience perceptive qui se produit à l’intérieur du continuum de l’espace temps de la réalité.Lungi dall’essere interventi estemporanei, i saggi di Merleau-Ponty sul cinema del 1945 e le sue note sul cinema per il corso al Collège de France del 1953 sono precursori di un’autentica fenomenologia del cinema. In questo articolo intendo mostrare come nei film si delinei tacitamente una fenomenologia del movimento e dello spazio, poiché il cinema è l’arte del movimento sullo schermo e per eccellenza l’arte dell’intersoggettività. Inoltre, intendo mettere in luce come la concezione ontologica merleau-pontyana del chiasma di visibile e invisibile si accosti all’intreccio dei “due spazi” menzionati da Noël Burch. In modo analogo, considererò l’interpretazione del mondo come il “qualcos’altro” che è al contempo presente e assente in ogni apparizione come corrispondente, nel cinema, a quella che Alain Bergala definisce la presenza “in absentia” del fuori campo sullo schermo, ossia all’apertura dello spazio fuori campo per mezzo del raccordo sullo sguardo e dell’ingresso e dell’uscita dei personaggi rispetto all’inquadratura. Infine, sosterrò che tanto l’impiego del long take e della profondità di campo, descritti dal teorico del cinema André Bazin, quanto l’uso di specifici movimenti di macchina, analizzati dal neuroscienziato Vittorio Gallese, preservino la continuità del reale e forniscano l’impressione che il film sia un’esperienza percettiva che si svolge entro il continuum spazio-temporale della realtà. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

Duranti gli anni della _Querelle des femmes_ si è assistito ad un’importante crescita di testi in difesa o in detrazione della causa femminile. Una delle caratteristiche principali di questa tendenza letteraria risiede nelle reciproche relazioni che le opere stabiliscono tra loro, attraverso una fitta rete di richiami intertestuali. Il Dialogo _Della Dignità e della nobiltà delle donne_ (1624) dello scrittore marchigiano Cristoforo Bronzini aderisce appieno alla pratica intertestuale che mette a servizio della memoria storico-culturale. Nel presente articolo si analizzano i (...) rapporti intertestuali del trattato seicentesco con opere di scrittrici come Lucrezia Marinella, Moderata Fonte ed Isabella Cervoni, mettendo in rilievo le diverse funzioni che l’intertestualità adempie nei testi della _Querelle des femmes_. (shrink)