Un viaggio affascinante tra alcuni dei personaggi geniali e tra le diverse epoche storiche.

En este artículo nos proponemos mostrar, por un lado, que resulta factible (y esclarecedor) explicar el capítulo “Of personal identity” del Treatise of Human Nature de David Hume a partir de la obra Sei personaggi in cerca d’autore de Luigi Pirandello, así como esta última obra a partir del texto de Hume; y, por otro lado, que tomando como eje la comparación de la mente con el teatro que propone Hume en dicho capítulo es también posible individuar, según (...) el modo en el que se piensa la relación del pensamiento y la experiencia con el sujeto, dos grandes corrientes en la filosofía moderna: una que podríamos denominar teatro de Autor y otra teatro sin Autor. (shrink)

Starting from two paintings by Salvador Dalì (The Enigma of William Tell and Autumnal Cannibalism), the article explores Sigmund Freud and Carl Gustav Jung’s idea of erotic cannibalism. The fear of being eaten is an archetype of the collective unconscious, as fairy tales clearly reveal. Following Jacques Derrida’s reflections, the author suggests that the fear of being eaten is not limited to anthropophagic cultures, because there is a sort of symbolic cannibalism which has to do with the capacity for annihilation. (...) The petrifying gaze of Medusa, described by Jean Paul Sartre, is a good example of this symbolic cannibalism. On the opposite side of the spectrum, compared to the petrifying gaze, we find the recognizing look of a mother toward her child. For the child, the mother embodies the good subject, which is reassuring and nonthreatening (the fairy who stands in contrast to the devouring ogre in fairy tales). Sara Ruddick explicitly refers to this motherhood model in her book Maternal Thinking, where she lays out the methodology for the ethics of care. The maternal, or recognizing gaze, as the opposite of Medusa’s gaze portrayed by Sartre, is well described in a compelling text by the Italian novelist Luigi Pirandello. At the same time, it plays an important role in Georg Wilhelm Friedrich Hegel’s The Phenomenology of the Spirit. Finally, the article returns to Salvador Dalì, showing how in his life, the artist experienced the Other’s gaze in both forms: the objectifying one, represented by the artist’s father (portrayed in The Enigma of William Tell), and the recognizing one, embodied by his partner Gala (portrayed in Autumnal Cannibalism). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Benjamin does not see or does not want to see the new “aura” that makes the art of cinema “art” which stays as the central feature of the totally renewed statute of artistic activity in the age of mechanical reproduction. In his essay of 1936, Benjamin acquires the arguments of all those authors who, between the first and second decades of the Twentieth century, had described this art and his new aura: Paul Valéry, George Duhamel, Léon Pierre-Quint, Luigi (...) class='Hi'>Pirandello, Bertolt Brecht, Rudolph Arnheim. It is an art for the mass that has a positive but also negative side in individual perception. Benjamin considers the new man – be it mass-man (the audience) or man-tool – recruitable for a coming revolution, but at the end of the essay he raises a question concerning the whole of contemporary art from the Dada movement to the present time: how could this completely renovated art possibly escape exploitation by those who produce it and drive it since then? (shrink)

I fatti! I fatti! Caro signore, i fatti sono come siassumono; e allora, nello spirito, non sono più fatti:ma vita che appare, così o in altro modo.Luigi Pirandello 1 Ontologia del giuridico 1.1 Due ontologie del giuridico: ontologia degli oggetti giuridici (Adolf Reinach) vs. ontologia degli enti giuridici (Santi Romano) 1.1.1 Nella filosofia del diritto del xx secolo sono compresenti due ontologie del giuridico:(i) l’ontologia degli oggetti giuridici di Adolf Reinach (1883-1917),(ii) l’ontol...

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Benjamin does not see or does not want to see the new “aura” that makes the art of cinema “art” which stays as the central feature of the totally renewed statute of artistic activity in the age of mechanical reproduction. In his essay of 1936, Benjamin acquires the arguments of all those authors who, between the first and second decades of the Twentieth century, had described this art and his new aura: Paul Valéry, George Duhamel, Léon Pierre-Quint, Luigi (...) class='Hi'>Pirandello, Bertolt Brecht, Rudolph Arnheim. It is an art for the mass that has a positive but also negative side in individual perception. Benjamin considers the new man – be it mass-man (the audience) or man-tool – recruitable for a coming revolution, but at the end of the essay he raises a question concerning the whole of contemporary art from the Dada movement to the present time: how could this completely renovated art possibly escape exploitation by those who produce it and drive it since then? (shrink)

In these essays grouped under the title Spectacles and Predicaments Gellner is doing in social theory what Luigi Pirandello did on the stage, namely, make us involved in the political predicaments of life rather than be a mere observer of the spectacle of politics. The book is divided into three parts: part one is concerned with philosophers and their philosophies by which we interpret humanity; part two deals with the nature of knowledge and its implications; and part three (...) concerns the political implications of philosophy. Just about all the essays are reviews of books dealing with the various topics of philosophy and socio-political questions. As a result the unity that one hopes to find is never really developed. (shrink)

Ontologies represent the standard way to model the knowledge about specific domains. This holds also for the legal domain where several ontologies have been put forward to model specific kinds of legal knowledge. Both for standard users and for law scholars, it is often difficult to have an overall view on the existing alternatives, their main features and their interlinking with the other ontologies. To answer this need, in this paper, we address an analysis of the state-of-the-art in legal ontologies (...) and we characterise them along with some distinctive features. This paper aims to guide generic users and law experts in selecting the legal ontology that better fits their needs and in understanding its specificity so that proper extensions to the selected model could be investigated. (shrink)

Ontologies represent the standard way to model the knowledge about specific domains. This holds also for the legal domain where several ontologies have been put forward to model specific kinds of legal knowledge. Both for standard users and for law scholars, it is often difficult to have an overall view on the existing alternatives, their main features and their interlinking with the other ontologies. To answer this need, in this paper, we address an analysis of the state-of-the-art in legal ontologies (...) and we characterise them along with some distinctive features. This paper aims to guide generic users and law experts in selecting the legal ontology that better fits their needs and in understanding its specificity so that proper extensions to the selected model could be investigated. (shrink)

Ontologies represent the standard way to model the knowledge about specific domains. This holds also for the legal domain where several ontologies have been put forward to model specific kinds of legal knowledge. Both for standard users and for law scholars, it is often difficult to have an overall view on the existing alternatives, their main features and their interlinking with the other ontologies. To answer this need, in this paper, we address an analysis of the state-of-the-art in legal ontologies (...) and we characterise them along with some distinctive features. This paper aims to guide generic users and law experts in selecting the legal ontology that better fits their needs and in understanding its specificity so that proper extensions to the selected model could be investigated. (shrink)

L’articolo affronta il problema delle interazioni fra cittadini romani e indigeni nel territorio di Bergomum, municipium della regio xi - Transpadana, attraverso l’esame delle formule onomastiche riscontrabili in alcune iscrizioni. In particolare, l’analisi della documentazione epigrafica agirà su un doppio binario, prendendo in considerazione sia formule di onomastica idionimica – tipicamente indigene e presenti anche dopo la concessione della cittadinanza romana alla Transpadana alla metà del I secolo a.C. – sia formule fedeli al modello romano dei tria nomina, che testimoniano (...) un’ascendenza celtica e una certa persistenza di abitudini locali. Le prove fornite dall’onomastica, dunque, saranno utili ad indagare come gli abitanti “indigeni” di Bergomum abbiano affrontato la romanizzazione del loro territorio e attraverso quali meccanismi vennero integrati nella struttura sociale romana; ciò anche attraverso il confronto con realtà circonvicine, prima fra tutte la Colonia Civica Augusta Brixia. (shrink)

The article argues that the possibility of an unlimited gap in income and wealth between the top and bottom segments of society is incompatible with a democratic commitment to political equality. T...

Folk-economic beliefs may be regarded as “evidential fictions” that exploit the natural tendency of human cognition to organize itself in narrative form. Narrative counter-arguments are likely more effective than logical debunking. The challenge is to convey sound economic reasoning in narratively conspicuous forms – an opportunity for economics to rethink its role and agency in public discourse, in the spirit of its old classics.

Hands are commonly held up as an exemplar of well-known, familiar objects. However, conceptual knowledge of the hand has been found to show highly stereotyped distortions. Specifically, people judge their knuckles as farther forward in the hand than they actually are. The cause of this distal bias remains unclear. In Experiment 1, we tested whether both visual and tactile information contribute to the distortion. Participants judged the location of their knuckles by pointing to the location on their palm directly opposite (...) each knuckle with: 1) a metal baton (using vision and touch) 2) a metal baton while blindfolded (using touch), 3) a laser pointer (using vision). In Experiment 2, we investigated whether judgments are influenced by visual landmarks such as the creases at the base of each finger on the palm. Participants localized their knuckles on either a photograph or a silhouette of their hand. In both experiments, clear distortions were found across conditions, of generally similar magnitude. These results show that distal bias is resistant to changes in the stimulus information and does not rely on any specific stimulus cue or single sensory modality, suggesting that such mislocalisations reflect a conceptual misrepresentation of hand structure. (shrink)

The essay is dedicated to war considered through the reflections of Roger Caillois and in particular through certain motifs – feast, sacred, vertigo – that allow us to grasp its ‘metaphysical’ intention, i.e. capable of looking at war as the point of chiasmatic reversibility of life and death.

Focusing on the relationship between two important scientists in the development of ecological thought during the first half of the twentieth century, this paper argues that Yale limnologist G. E. Hutchinson's adoption of the biogeochemical approach in the late 1930s builds on the 1920s work of the Russian scientist V. I. Vernadsky. An analysis of Hutchinson’s scientific publications shows that he first referred to Vernadsky in 1940, on two different occasions. This article analyzes the dynamics of Hutchinson’s formulation of the (...) biogeochemical approach, providing historical context and linking its early application to the existing limnological tradition. (shrink)

This book offers an up-to-date insight into the early philosophical debate on Einsteinian relativity. The essays explore the reception and interpretation of Einstein’s ideas by some of the most important philosophical schools of the time, such as logical positivism (Reichenbach), neo-Kantianism (Cassirer, Natorp), critical realism (Sellars), and radical empiricism (Mach). The book is aimed at physicists and historians of science researching the epistemological implications of the theory of relativity, as well as to scholars in philosophy interested in understanding how leading (...) philosophical figures of the early twentieth century reacted to the relativistic revolution. (shrink)