One of the main characteristics of the contemporary aesthetic debate is the recovery of the concept of mimesis, as a dimension that is originally involved in the foundation of human culture and the processes of cultural learning. This is evident in the aesthetic reflection developed by Gunter Gebauer and Christoph Wulf. For these two authors, mimesis is never a mere reproduction of the given reality, but always implies the production of the New, of the Other, of the different with respect (...) to the empirical world, i.e. to the existing categorical order of the world. In particular, Gebauer and Wulf underline the constitutive ambivalence of the notion of mimesis: on the one hand, it favors the processes of reification fueled by capitalist society and, on the other hand, it contributes to the affirmation of a critical and “utopian” instance that can counter “instrumental reason” and the primacy of identity. (shrink)

The paper proposes a focus upon the notion of “aura” as it emerges from the work of Baudelaire. In particular, the paper shows how the relevance of such a work lies precisely in its capacity to critically interrogate the relationship between art, aura and modernity: in its capacity to exhibit exemplary, on the one hand, the irremediable decline of aura understood as “uniqueness” and “originality” of the artwork (therefore, the aura as expression of a sense given once and for all) (...) and, on the other hand, the possible survival of an aura conceived rather as appearance of an inaccessible “distance”, and then of an irreducible otherness. From this point of view, in staging a short-circuit between spleen and idéal, i.e between “myth” and “hope”, the Baudelairian artistic form offers itself to us as an expression of authentic “auratisation of the datum”. (shrink)

The paper proposes a new understanding of the relationship that links philosophy and literature, assuming the Greek tragedy of the 5th century BC as the exemplary occasion for the development of this enquiry. In this perspective, moving from the original interpretation of the tragedy recently offered by Pierre Judet de La Combe, the paper shows how the specific cognitive function of the tragedy, understood as “artistic form”, consists in its ability to bring to manifestation, in exemplary way, the “conditions of (...) sense” that make possible any knowledge of experience, with the consciousness of the aesthetical-imaginative and not logical-conceptual character of these same conditions. From this point of view, the critical and reflexive function of the tragedy is due – according to the Adornian interpretation – to the autonomy of the “form”, i.e. to the sensible configuration of the tragedy. What emerges, here, is the “non-reproductive” but “productive” nature of the tragic form: what it offers to the spectator is not the representation of a sense already given in the world, but rather an “indefinite opening to meaning”, i.e. a form able to construct an indeterminate multiplicity of “possibilities of sense”. (shrink)

The paper proposes a focus upon the notion of “aura” as it emerges from the work of Baudelaire. In particular, the paper shows how the relevance of such a work lies precisely in its capacity to critically interrogate the relationship between art, aura and modernity: in its capacity to exhibit exemplary, on the one hand, the irremediable decline of aura understood as “uniqueness” and “originality” of the artwork (therefore, the aura as expression of a sense given once and for all) (...) and, on the other hand, the possible survival of an aura conceived rather as appearance of an inaccessible “distance”, and then of an irreducible otherness. From this point of view, in staging a short-circuit between spleen and idéal, i.e between “myth” and “hope”, the Baudelairian artistic form offers itself to us as an expression of authentic “auratisation of the datum”. (shrink)

The purpose of the paper is to show how the reading of Kafka’s Prometheus offered by Hans Blumenberg in Arbeit am Mythos authorizes a re-understanding of this short story as a device within which the meta-representative moment and the questioning moment are configured as two indissolubly linked aspects. In this perspective, starting from the recognition of the key role played by the mechanism of irony in the construction of the Kafkaesque short story, the article aims to highlight the three different (...) levels of articulation of such a mechanism, with particular reference to its ability to exhibit – at the same time – the transcendibility of the datum and the need to think the sense as «infinite deferral». (shrink)