v. 1. Gnoseologia, psicologia, morale.--v.2. Storia, civiltà, progresso.

The coronavirus disease 2019 health crisis is strongly affecting the psychological well-being of the general population. According to a very recent literature, the imposed lockdown and social distancing measures have generated a series of negative outcomes, including fear of the future, anxiety, and somatization symptoms. Few studies have investigated the impact of the COVID-19 pandemic on the well-being of parents and children, and still fewer studies have assessed the relationship between the psychological health of parents and children. The present study (...) aimed at understanding the effect of parents’ psychological distress and verbal aggression on behavioral and emotional symptoms of children during the COVID-19 lockdown. Using an online survey administered in the first weeks of the lockdown in Italy, we explored the mediating effects of parent verbal hostility and child emotional symptoms on the relationship between parent distress and child hyperactivity/inattention in a sample of 878 Italian parents. Two hypotheses were proposed: parent distress would significantly predict child hyperactivity/inattention, and parent verbal hostility and child emotional symptoms would mediate the association between parent distress and child hyperactivity/inattention. The serial mediated model confirmed both hypotheses, suggesting that higher rates of psychological distress in parents were associated with higher levels of hyperactivity/inattention in children. Parent verbal hostility and child emotional problems were also found to positively mediate this relation. Our results may be used to improve sociopsychological interventions in the general population in the near future. They may also contribute to the clinical definition of therapeutic paths for parents and families. (shrink)

Der Laureatus dieser Schrift hatte 1986 Hans Jonas eröffnet, daß er an einer Politischen Philosophie arbeite, aus der, wie die Autoren dieses Bandes wissen, nichts geworden ist und von der man auch sonst nicht viel vernommen hat. Jonas wandte damals ein: "Wie wollen Sie der Politischen Vernunft auf die Beine helfen? Das Wissen über die politischen Bewußtseinsvoraussetzungen in uns und ihre Struktur in Gesellschaften ist in esoterische Teilbestände und exoterische politische Religionen, Ideologien und Denkschulen zerfallen. Diese Angelegenheit müßte einer umfassenden (...) Kritik unterzogen werden. Außerdem müßten alle gescheiterten Restitutionsversuche von Platon bis heute auf ihre Prägnanz hin durchgegangen werden. Er nannte Thomas von Aquin, Spinoza, Kant, Hegel, Arendt, Strauss, Voegelin und sich selbst. Sie müßten die Erfahrungen und die Maßstäbe, aus denen das politische Bewußtsein sich ernährt und aufrichtet und die, die es vergiften, frei legen." Im nachfolgenden Gespräch über verschiedene Denker und ihre Texte zur politischen Philosophie tauchten metaphorisch die "leuchtenden Fünkchen" oder "Goldklümpchen" auf, in denen Jonas und der Laureatus lebendige Reste der Politischen Vernunft und die menschheitliche Erinnerung an sie erkannten. "Wir sind womöglich aus einer Jeremiade herausgekommen …" lautete der verheißungsvolle Schlußpunkt des kurzen Gesprächs. Der Laureatus, Jurist und Politikwissenschaftler, konnte während seiner Lehr- und Forschungstätigkeit einige Anregungen für "philosophische Fragestellungen" zu den grotesken und verflachten Formationen des politischen Denkens unserer Zeit geben. Die Autoren sind Claus-Ekkehard Bärsch, Giandomenico Bonanni, Ulrich Diehl, Michael Ensslen, Jürgen Gebhardt, Volker Gerhardt, Manfred Henningsen, Vittorio Hösle, Klaus Kodalle, Peter König, Daniel Krochmalnik, Jan-Ivar Lindén, Reiner Manstetten, Krzysztof Maurin, Peter J. Opitz, Thomas Petersen, Walter Rothholz, Florian Sattler, Stephan Sattler, Julius H. Schoeps, Peter von Sivers, Chiara Staude-Colli, Jakob Staude, Kurt Stenzel, Peter Weber-Schäfer, Reiner Wiehl und James Wood. (shrink)

Giandomenico Sica’s volume is a collection of eleven papers on category theory by philosophers, mathematicians, and mathematical physicists. In addition to papers of direct interest to philosophers of mathematics, the volume contains some introductory expositions of category theory along with a valuable discussion of the relationship between category theory and physics by Bob Coecke. While there are several technically difficult papers, the volume as a whole is reasonably accessible to those with some familiarity with the basics of category theory. (...) The importance of the volume lies in the possibility that it will encourage broader interest in category theory among philosophers. (shrink)

in Giandomenico Sica (ed.), Open Access, Open Problems, Milan: Polimetrica, October 20, 2006, pp. 43-58.

L'oeuvre du philosophe Paul Gilbert, jésuite belge professeur de métaphysique depuis vingt-cinq ans à l'Université Grégorienne, est considérable et mérite d'être mieux connue. Après avoir étudié les écrits de saint Anselme (Dire l'ineffable, 1984), Paul Gilbert a questionné la métaphysique classique, sous l'influence de la philosophie réflexive (La Simplicité du principe, 1994). Il a ensuite souligné les chances offertes à la réflexion fondamentale par l'analogie, thème classique mais oublié (La Patience d'être, 1996, et Sapere e sperare, 2003). Plus récemment, il (...) a abordé la question de la violence, ce mal- être si commun (Violence et compassion, 2009). En 1997 déjà, son travail a été récompensé du prix Cardinal Mercier de l'U.C.Louvain-la-Neuve. Durant de nombreuses années, Paul Gilbert a été professeur invité à l'Institut catholique de Paris. A l'occasion de son éméritat dans cette institution, un colloque y a été organisé. Dans leurs communications, S. Bonanni, Ph. Capelle-Dumont, S. D'Agostino, E. Gabellieri, J. de Gramont, 1. Malaguti, R. Repole et E. Tourpe reprennent et développent l'élaboration de la pensée de Paul Gilbert. Ce dernier fait écho à chacune d'elles et, dans un exposé final, retrace son propre itinéraire intellectuel. (shrink)

Who is Pulcinella? What does his laughter have to say about the "end of time" and the end of life of Giandomenico Tiepolo? How can the end of a life make anyone laugh like Carnival’s popular mask does? This article tries to answer such questions. By unfolding the tools that come from the realm of Giorgio Agamben’s philosophy – notably the notion of "recapitulation of time" in its relation to comedy – we will trace a path which links Michail (...) Bachtin’s theories on the carnivalesque culture together with a recognition in the aesthetics of "character". In this encounter, the consistency of Pulcinella-King Carnival’s form of life will appear in the light of an “escape route”: it winks at a kind of general and anonymous beatitude, which pairs with the experience of the destitution of time. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure. . . . There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure.... There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)