Resumo: Lugi Pareyson (1918-1991) foi um dos mais importantes filósofos italianos do século XX. Sua imensa e erudita obra contribuiu significativamente para a discussão do idealismo alemão e do existencialismo em solo italiano e também na Argentina, onde ele trabalhou por alguns anos. O objetivo do presente artigo é avaliar alguns aspectos de sua leitura sobre um autor capital para o existencialismo, a saber, o dinamarquês Kierkegaard. Para tanto, delimitaremos nossa análise a investigar a presença do pensador na sua (...) obra Studi sull´esistenzialismo (1943). Há aqui um duplo intuito: o primeiro é realizar um panorama do existencialismo germânico e sua recepção em solo italiano. O segundo é perceber como Kierkegaard atuou sobre ambos segundo a interpretação de Pareyson. (shrink)

Luigi Pareyson is an italian existencialist philosopher, the unknown master of Umberto Eco and Gianni Vattimo. This not very well known philosopher has a consistent anthropology, which carries out its consecuences in his aesthetics and hermeneutics. Consecuently, he also considers philosophy as a permanent dialogue between each person with truth and other persons. This is the future of philosophy, he says.

Philosophical hermeneutics is underrepresented in the literature on music performance. Given the shift from Cartesian subjectivism to anti-subjectivism in the contemporary literature on improvised musical performance, it is somewhat surprising that hermeneutics does not figure more prominently. Since hermeneutics is characterized by a dialectical to-and-fro—the hermeneutical conversation—between interpreter and subject matter, it would appear to offer a strong foundation for an anti-subjectivist account of improvised musical performance. The aim of this essay is to offer such an account. Drawing primarily on (...) the work of Hans-Georg Gadamer and Luigi Pareyson, this essay works through ideas related to the performer’s interpretation of pre-composed musical works, the context and content of the performance event, and the relational character of musical performance. It is argued that improvised musical performance necessarily relies upon a certain hermeneutic relationality. (shrink)

If one can already speak of the classics of philosophical hermeneutics, Luigi Pareyson belongs obviously together with Hans-Georg Gadamer and Paul Ricoeur to these classics. Hence the necessity of confronting his Verita e interpretazione both to Gadamer’s Verstehenshermeneutik and to Ricoeur’s hermeneutics of symbols and texts, putting forward the notion of interpretation. A good starting point for this confrontation consists in considering his early dissertation dedicated to Karl Jaspers and putting his hermeneutics in relation with Jaspers’ monumental logic of (...) philosophy, entitled: Von der Wahrheit. Nietzsche’s metaphor of “encountering the Truth” highlights Pareyson’s attempt of rendering the notions of interpretation and of truth inseparable from each other. What is at stake in this attempt is nothing less than the self-understanding of philosophy itself. Contrary to what suggest some critics of Pareyson, it is not helpful to accuse him of remaining tributary to a metaphysical understanding of truth, for the time has not yet come to proclaim “Addio alla verita” and to claim that “conversation must go on”, regardless of truth. (shrink)

La dernière philosophie de Pareyson, pour l'essentiel condensée dans le volume posthume Ontologie de la liberté, composée de fragments articulés entre eux, est une philsophie et même une métaphysique de la liberté, mais officiellement elle se présente comme une herméneutique de l'expérience chrétienne et accessoirement comme une pensée tragique.

By exploring various semantic possibilities contained in the expression “lost in translation”, this essay addresses various difficulties entailed in the work of translation in general and as they apply to the translation into English of the works of Luigi Pareyson specifically. The essay also surveys the status of the Pareyson scholarship in the Anglophone world and suggests possible ways to foster a more congenial milieu for the appreciation of this important Italian philosopher whose thought is rarely recognized by (...) Anglophone thinkers, even of the continental kind. (shrink)

_Formatividad_ es el concepto clave de la estética de Luigi Pareyson, pero también de su hermenéutica filosófica. El artículo no se propone ilustrar la teoría estética de Pareyson sino: analizar en qué consiste esa formatividad intrínseca a toda actividad humana ; aclarar porqué la formatividad nos obliga a concebir el conocimiento como interpretación y, por tanto, a legitimar la hermenéutica ; señalar algunas implicaciones de tal hermenéutica susceptibles de importantes y fecundos desarrollos.

I temi della libertà e del male nelle considerazioni di Luigi Pareyson rivelano una profondità non comune e costituiscono, specie per la teologia, una riflessione "provocante" che dà a pensare. Se la fenomenologia del male moltiplica le domande senza risposta, nell'ordine del pensiero, esso rappresenta l'aporia delle aporie. Eppure, di fronte alla lacerante domanda sul male, l'uomo da sempre ha tentato di rispondervi. Ma il male, nella sua multiforme e tentacolare realtà, non solo sembra sfuggire ad ogni risposta, ma (...) nello stesso tempo sembra rivelare "un fondo tenebroso", uno stato di irrazionalità radicale, le cui radici penetrano nel più profondo della natura umana e gettano la loro ombra nei segreti recessi dei rapporti tra uomo e trascendenza. Così la radicalità del male nel suo non-senso si vede rinviata all'origine del senso, cioè a Dio. Questo è il punto più difficile, temerario e tuttavia penetrante, dove Pareyson cerca di mostrare come proprio individuando in Dio la possibilità, da Dio stesso scartata da sempre e per sempre, del male, si possa comprendere l'irrevocabile, eterna, originaria positività che è il Dio cristiano. (shrink)