Da quando Spengler, nel secondo volume del Tramonto dell’Occidente (1922), ha preso a prestito dalla terminologia mineralogica la nozione di «pseudomorfosi» per applicarla alla morfologia delle culture e all’interpretazione dei rapporti fra differenti tradizioni culturali, questo concetto si è ampiamente diffuso nel vocabolario della filosofia e delle scienze umane. Il presente articolo si ripropone di ricostruire alcune tappe fondamentali della storia degli effetti di tale prestito, indagandone al contempo le oscillazioni dello spettro semantico e le implicazioni metodologiche ed epistemologiche. In (...) Spengler il concetto viene assunto in accezione fondamentalmente negativa, per descrivere un fenomeno di costrizione morfologica: una cultura nuova è costretta dalla forza d’inerzia di una cultura precedente ad assumere forme estranee per manifestare i propri contenuti. Diversi lettori del Tramonto mutuano tale termine adattandolo alle proprie ricerche: Jonas per esplorare la relazione fra la gnosi e le tradizioni greca, orientale e cristiana; Mumford per analizzare le connessioni fra i recenti progressi tecnologici e le vecchie forme del potere e dell’economia; Adorno per condannare perniciose mimesi (la filosofia che imita le scienze; l’arte che imita il linguaggio concettuale; la musica che imita la pittura). Tutti condividono l’idea che la pseudomorfosi consista in una falsa manifestazione formale, che finisce per mascherare l’espressione di un contenuto autentico e originario; inoltre, l’adozione di forme vecchie per comunicare contenuti nuovi favorisce analogie e somiglianze meramente superficiali e sostanzialmente infondate. Anche Panofsky accoglie la nozione nella sua iconologia, imprimendo tuttavia al concetto curvature differenti in diversi momenti della sua opera: in Studies of Iconology (1939) si riconosce alla pseudomorfosi una positiva valenza euristica, capace di portare ad espressione, nel Rinascimento, contenuti rimasti inespressi nell’antichità grazie alla sopravvivenza di elementi della mediazione medievale. Una complessa relazione a tre tempi, dunque, che mette in luce un poietico movimento retroattivo del presente sul passato remoto grazie alla metabolizzazione del presente prossimo: una significativa riqualificazione della funzione pseudomorfica (già adombrata dalle ricerche di Warburg sul Nachleben der Antike), che tuttavia si perde nella successiva riflessione panofskyana, dal momento che in Tomb Sculpture (1964) torna a riaffermarsi l’accezione negativa e semplificatoria di pseudomorfosi come apparente ma infondata analogia formale. Assunto in questo senso peggiorativo, il termine trapassa nella successiva storiografia artistica (ad esempio in Rosenblum e Bois). Ma l’affermarsi, in tempi recenti, di una rivalutazione dei fenomeni di anacronismo (Didi-Huberman, Nagel, Wood, Powell) sta comportando, in parallelo, una riqualificazione delle potenzialità euristiche della retroazione pseudomorfica. Per potersi realizzare compiutamente, tale riqualificazione deve accompagnarsi con una coerente teoria delle somiglianze. (shrink)

I saggi raccolti in questo fascicolo mirano a comprendere la polarità omologia/analogia e ad analizzarne gli usi nei diversi ambiti concettuali in cui essa ricorre nel dibattito contemporaneo in filosofia, nelle scienze della vita, nei discorsi sulle arti. La storia di questa coppia concettuale mostra la capacità pervasiva di costruire relazioni tra i diversi oggetti della conoscenza e, cosa ancor più interessante, la possibilità di raggiungere una sintesi concettuale fra approcci metodologic...

Summary The term empathy has become a linguistic commonplace in everyday communication as well as in interdisciplinary research. The results of the research questions, raised in the last hundred (and more) years, coming from different areas, such as aesthetics, psychology, neurosciences and literary theory, lack in fact a clear concept of empathy. Not surprisingly, a recent paper has identified up to 43 distinct definitions of empathy in academic publications. By reconstructing the main research lines on empathy, our paper highlights the (...) reasons for this conceptual inadequacy and the deficiencies in the theorization of empathy that create misleading interpretations thereof. Along the line connecting Plato’s insights on empathic experiences to the present neuroscientific experiments, a broad spectrum of issues is deployed for which “empathy” functions as an umbrella term covering a net of categorical relationships – projection, transfer, association, expression, animation, anthropomorphization, vivification, fusion, and sympathy – that only partially overlap. Our paper therefore recommends that “empathy” should not be assumed as a self-evident notion but instead preliminarily clarified in its definition every time we decide to have recourse to it. (shrink)

In the first half of the Thirties Walter Benjamin offers two radically different interpretations of the legend of the Chinese painter who disappears in his own painting after having trespassed the threshold dividing the representative space of the image from the actual space of reality: in Berlin Childhood around 1900 the anecdote is presented as a positive example of tactile identification between subject and object; in the versions of the essay The Work of Art in the Age of Its Technological (...) Reproducibility the vanishing painter becomes the paradigm of the optical contemplation of cultual auratic images. In my paper I will try to clarify such interpretative switch from nearness to farness, exploring three major issues in Benjamin’s thought: the question of the threshold between reality and representation in painting, theatre and cinema; the criticism of empathic identification (shared by Benjamin with Brecht); the admiration for Chinese culture, expressed by Benjamin in many passages of his work, and metabolized in a peculiar conception of “Chinese dialectics”. (shrink)

In the first half of the Thirties Walter Benjamin offers two radically different interpretations of the legend of the Chinese painter who disappears in his own painting after having trespassed the threshold dividing the representative space of the image from the actual space of reality: in Berlin Childhood around 1900 the anecdote is presented as a positive example of tactile identification between subject and object; in the versions of the essay The Work of Art in the Age of Its Technological (...) Reproducibility the vanishing painter becomes the paradigm of the optical contemplation of cultual auratic images. In my paper I will try to clarify such interpretative switch from nearness to farness, exploring three major issues in Benjamin’s thought: the question of the threshold between reality and representation in painting, theatre and cinema; the criticism of empathic identification (shared by Benjamin with Brecht); the admiration for Chinese culture, expressed by Benjamin in many passages of his work, and metabolized in a peculiar conception of “Chinese dialectics”. (shrink)

1. Quale estetica? Aisthesis come koinè Perché scegliere di affrontare qui le ragioni di un possibile dialogo della neuroestetica con l’estetica psicologica e fenomenologica, e non, poniamo, con quella ermeneutica di ascendenza heideggeriano-gadameriana o quella “critica” francofortese o quella neoidealistica crociana? Per una duplice motivazione, di carattere genealogico e insieme tematico. Sotto il profilo della loro genealogia, le recenti ricerche neuroscientifiche sull’esperienza artistic...

In its first paragraphs the paper aims at presenting the key-concepts and problematic issues of the philosophy of colours developed by Hedwig Conrad-Martius (1888-1966) in her essay Farben (1929). One of the most brilliant pupils of Husserl, Conrad-Martius developed a Realontologie of colours, a sophisticated description of their ontic genesis and structure, according to the realistic interpretation of phenomenology characteristic of the circles of Munich and Göttingen. While deeply indebted to Goethe’s morphological approach, Conrad-Martius’s doctrine was able to influence the (...) “rigorous” Kunstwissenschaft of Hans Sedlmayr and his school. The final paragraphs of the paper show how Sedlmayr, colleague of Conrad-Martius at the University of Munich in the Fifties, tried to make such a phenomenological-ontological perspective fruitful for the interpretation of images belonging to the domain of visual arts, insisting on the ontic roots of chromatic symbolism. (shrink)

Since their first appearance in the late 18th century (Herder, Novalis), and particularly during the golden age between the late 19th and the early 20th century (Vischer, Lipps), the theories of empathy (Einfühlung) have frequently interpreted the ancient issue of the animation of the inanimate on the basis of a hydraulic model of communicating vases: the human subject fills the void object with her/his feelings. The unsustainable psychologistic subjectivism underpinned by such model was radically criticized both by Gestalt theorists and (...) phenomenologists, who rejected the idea of emotional projection and claimed the expressivity peculiar to any entity, both human and non-human. Nevertheless, the notion of empathy is not completely confuted by such criticism, for it does not completely coincide with the hydraulic model. In my paper I will try to show the possibility of a non-subjectivistic version of the Einfühlung referring to the analogical characterology developed in the circle of Lipps’ school (Pfänder, Geiger, Klages). (shrink)

This synthetic survey of the models on which theEinflihlungstheorie is based has showed the deficiency of a pattern and the oscillation of a distinction.The hydraulic model, which following a radical subjectivism is specified as a projection or transfer of pathemic contents from the subject into the object, experiences a crisis if confronted with the rights of the object, which claims to be empathized in this way or in that way. Such a claim induces to recognize a character proper to the (...) object, which does not accept to be reduced to a mere neutral container ready to receive the subjective pathemic contents.Consequently, the distinction between empathy towards the human and empathy towards the sub-human — which appeared to be a major difference —vanishes, since the relation with the object (natural or artistic) is specified in terms of intersubjectivity andalter-ego.The subjectivistic hydraulic pattern is not just substituted by an opposite, objectivistic pattern, which would create the same difficulties, only upset; but rather by ananalogic model, in which sense is established in the correlation between subject and object, and on the aesthetic ground of the qualitative affinities, which determine a horizon of style.It is an analogic model which characterizes, in Husserl, the constitution of the transcendental intersubjectivity: empathy becomes the condition of possibility of the comprehension of other subjects in their typic or stylistic structure.InAesthetik und allgemeine Kunstwissenschaft Max Dessoir severely criticizes the theorists of empathy because they hyposthatize organic metaphors creating a “schablonenhafte Versprachlichung.”44 Empathy is certainly metaphor, yet not in the sense of a figurative expression, but as a realmetapherein ortransfert: as translation of sense — not from a full to an empty vessel, but rather in the circular form of the analogic circuit. (shrink)

Things are not the same when, even remaining the same, they are placed on the right or on the left, above or below, in front or behind. In the concrete space of our daily experience, in the space of myths and religions, we are not confronted with a neutral, homogeneous, infinite and isotropic spatiality, indifferent to directions. On the contrary, the possibility of a meaningful movement in space, rooted in my own body and in its praxis (as Kant shows in (...) his pre-critical and critical essays devoted to the space regions and to orientation), is assigned to the three main axes (above/below, right/left, front/behind) and their correspondent differences. The same applies for the space of images and pictures. The present issue of “Aisthesis” aims at exploring how the articulations above/below, right/left, front/behind produce a difference – syntactic, semantic, pragmatic and symbolic – in the iconic domain, and at investigating what theoretical models can be employed in order to understand such difference. (shrink)

This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.

Este trabajo se ocupa de la crítica de Platón a oradores, poetas y sofistas. Su propósito es mostrar que independientemente de las características que singularizan una batalla de vasto alcance librada por el filósofo en tres frentes distintos, la noción de imitación (mimesis) proporciona un hilo conductor que permite vincular esos diferentes enfrentamientos y arrojar luz sobre la reacción de Platón ante quienes identifica, peyorativamente, como imitadores. La práctica adulatoria del orador en Gorgias, no menos que el quehacer del poeta (...) puesto en tela de juicio en República y el del sofista en el diálogo homónimo tendrían, en efecto, una naturaleza mimética. Esto no impide reconocer, junto a los puntos de continuidad, diferencias significativas en los tratamientos de la mimesis que ofrecen los tres diálogos aquí considerados. (shrink)

A student's future as a knowledge worker (one who "thinks for a living" with the task of problem solving) is the starting point of this book. With this in mind, the book combines a review of philosophical positions and problems with practical examples and perspectives gained from everyday challenges faced by knowledge workers in their businesses and organizations. Through the use of summative chapters, highlighted key concepts, questions for reflection, and illustrative examples on how to work with the theories presented, (...) the book provides a clear and accessible introduction to this challenging subject. Philosophy of Science primarily addresses students studying language, communication, marketing, economics, and management. However, the survey of the theoretical schools of thought - as well as the discussions on research ethics and the role of research in society - will be equally relevant for other students in the humanities and the natural and social sciences. (shrink)

'Usos de Memórias' é uma coletânea de textos sobre os vários aspectos da memória, isto é, pedagógica, simbólica, histórica, política e social. O livro traz os seguintes capítulos - Política, memória e esquecimento; Re(vi)vendo o ontem no tempo e no espaço'dos de hoje'; Memória, educação e velhice; A memória como elemento educativo; Memória e identidade.

Anche se siamo comunemente abituati a pensare alla scienza come a un qualcosa di assolutamente atemporale e indipendente da tutto, in realtà essa è profondamente influenzata dalla cultura e dalla società del tempo in cui vive. Infatti né la scienza è isolabile dalla società, né la società è isolabile dalla scienza, tanto meno come si sta configurando oggi. Per approfondire questi aspetti, esistono però due visioni antagoniste che bisogna superare: secondo la visione scolastica, retaggio del positivismo ottocentesco ancora molto diffuso (...) fra scienziati e pubblico di non esperti, la scienza è conoscenza senza soggetto conoscente. All'opposto, la visione cinica della scienza, sull'onda di talune elaborazioni della sociologia della scienza, la riduce a nient'altro che a una costruzione di soggetti che partecipano al gioco scientifico, una cultura come altre e da "mediare", e comunque una conoscenza relativa, se non frutto di una costruzione puramente soggettiva, arbitraria, ideologica. Un'analisi della costituzione sociale della scienza può, invece, mirare a un'indagine scientifica sulla scienza proprio configurando una relatività della conoscenza che supera sia l'assolutismo idealistico sia il relativismo soggettivistico. (shrink)

Émile Durkheim remains one of the most controversial, and deeply misunderstood, classics of social theory. His work differs from the dominant version of sociology that has essentially accepted the modernist self-description of contemporary societies; and it contradicts the individualism that has come to dominate the social sciences. For everybody who is interested in constructing theoretical alternatives to this individualism, Durkheim's sociology can be a useful inspiration - not only because of the solutions it suggests, but already because of the questions (...) it asks. Making use of the theoretical possibilities offered by the Durkheimian tradition, however, requires going beyond the familiar appropriations. The Oxford Handbook of Émile Durkheim takes stock of the different recent debates on Durkheimian sociology, and makes them accessible to a wide audience spanning various disciplines; this includes crucial debates that, due to language barriers, are not easily accessible for an English-reading public. The handbook's chapters elucidate the controversial key concepts of Durkheimian sociology; situate them within the contemporary political and theoretical debates they were originally responding to; offer surveys of empirical research that uses Durkheimian concepts (on topics that were already central for Durkheim's own work as well as on topics that Durkheim hardly touched upon), thus demonstrating the possibilities of a Durkheimian sociology; bring out the divergent, and competing, ways in which Durkheim's ideas have been appropriated and reformulated within more recent theoretical developments in the social sciences. In doing so, this volume is an important resource for all scholars and students looking to understand Durkheimian sociology. (shrink)

Abstract:We discuss the role that transnational corporations (TNCs) should play in developing global governance, creating a framework of rules and regulations for the global economy. The central issue is whether TNCs should provide global rules and guarantee individual citizenship rights, or instead focus on maximizing profits. First, we describe the problems arising from the globalization process that affect the relationship between public rules and private firms. Next we consider the position of economic and management theories in relation to the social (...) responsibility of the firm. We argue that instrumental stakeholder theory and business and society research can only partially solve the global governance issue, and that more recent concepts of corporate citizenship and republican business ethics deliver theoretically and practically helpful, fresh insights. However, even these need further development, especially with regard to the legitimacy of corporate political activity. (shrink)

Simondon adopts some concepts of social psychology as ‘in group’ and ‘out group’, namely from Kurt Lewin and Gordon Allport, that allow him to describe the fundamental processes shaping the domain of collective individuation, and to challenge Bergson’s distinction between a ‘closed’ community and an ‘open’ society. Reconstructing Simondon’s sources is necessary to understand how he tries to provide an analysis of the social system without presupposing a given anthropology, but rather exploring different perspectives on the human/nature threshold through the (...) concept of transindividual. In his study of the social system Simondon progressively gives conceptual shape to the processes he calls transindividual thanks to the ontogenetic analysis of the phenomena of belief, work and language. In all these domains, a ‘basic community’ emerges just over the threshold of the biological group, where the structural ambivalence of all collective processes as simultaneously closed and open becomes clear. That is why Simondon does not present the concept of the transindividual as a solution to the epistemological problem of psychic and collective individuation, but rather as the ‘field’ in which a whole series of social, biological and technical dimensions can be made converge towards a science of anthropogenic processes. (shrink)

Memory of historical trauma has a unique power to generate works of art. This book analyzes the relation of public memory to history, forgetting, and selective memory in Berlin, Buenos Aires, and New York—three late-twentieth-century cities that have confronted major social or political traumas. Berlin experienced the fall of the Berlin Wall and the city’s reemergence as the German capital; Buenos Aires lived through the dictatorships of the 1970s and 1980s and their legacy of state terror and disappearances; and New (...) York City faces a set of public memory issues concerning the symbolic value of Times Square as threatened public space and the daunting task of commemorating and rebuilding after the attack on the World Trade Center. Focusing on the issue of monumentalization in divergent artistic and media practices, the book demonstrates that the transformation of spatial and temporal experience by memory politics is a major cultural effect of globalization. (shrink)

The central contention of this article is that the classificatory scheme of contemporary affective science, with its traditional categories of emotion, anger, fear, and so on, is no longer suitable to the needs of affective science. Unlike psychological constructionists, who have urged the transition from a discrete to a dimensional approach in the study of affective phenomena, I argue that we can stick to a discrete approach as long as we accept that traditional emotion categories will have to be transformed (...) in order to do any scientific work. I conclude by articulating some general rules for turning traditional emotion categories into suitable scientific tools. (shrink)

The aim of this paper is to defend the structural concept of representation, as defined by homomorphisms, against its main objections, namely: logical objections, the objection from misrepresentation, theobjection from failing necessity, and the copy theory objection. The logical objections can be met by reserving the relation ‘to be homomorphic to’ for the explication of potential representation (or, of the representational content). Actual reference objects (‘targets’) of representations are determined by (intentional or causal) representational mechanisms. Appealing to the independence of (...) the dimensions of ‘content’ and ‘target’ also helps to see how the structural concept can cope with misrepresentation. Finally, I argue that homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight. (shrink)

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

Edmund Husserl is regarded as the founder of transcendental phenomenology, one of the major traditions to emerge in twentieth-century philosophy. In this book Andrea Staiti unearths and examines the deep theoretical links between Husserl's phenomenology and the philosophical debates of his time, showing how his thought developed in response to the conflicting demands of Neo-Kantianism and life-philosophy. Drawing on the work of thinkers including Heinrich Rickert, Wilhelm Dilthey and Georg Simmel, as well as Husserl's writings on the natural and (...) human sciences that are not available in English translation, Staiti illuminates a crucial chapter in the history of twentieth-century philosophy and enriches our understanding of Husserl's thought. His book will interest scholars and students of Husserl, phenomenology, and twentieth-century philosophy more generally. (shrink)

Responsibility as accountability is normally taken to have stricter control conditions than responsibility as attributability. A common way to argue for this claim is to point to differences in the harmfulness of blame involved in these different kinds of responsibility. This paper argues that this explanation does not work once we shift our focus from other-directed blame to self-blame. To blame oneself in the accountability sense is to feel guilt and feeling guilty is to suffer. To blame oneself in the (...) attributability sense, it will be argued, is to feel shame and feeling shame is also to suffer. The different control conditions cannot be explained by a difference in the harm of blame. Instead, this paper argues that accountability and attributability are governed by different kinds of appropriateness: an agent S is accountability blameworthy for X only if S deserves to feel guilty; an agent S is attributability blameworthy for X only if it is fitting that S feels shame for X. (shrink)