In the “Foreword” to the publication in 1739 of the first two parts of the Treatise on _Human Nature_, devoted to the intellect and the passions, Hume promised, “If I am fortunate enough to be successful, I will proceed to examine morality, politics and criticism, an examination that will complete this Treatise on Human Nature”. This essay takes a general look at Hume's aesthetic reflection, highlighting its dominant developments and crucial passages, in an attempt to show how the methodological and (...) gnoseological premises for Humean research on the beautiful were already anticipated in the Treatise project itself. (shrink)

In this paper, I examine Eugenio Lecaldano’s way of tackling the issue of the meaning of life. I highlight the dependence of his individualistic approach on the specific character of the person who inquires into the meaning of life. I also sketch a weaker way of understanding the meaning of life as an attempt to provide reasons which are valid from the standpoint of the present, and which will make us continue living.

I discuss Eugenio Lecaldano’s view of the search for meaning in life as presented in "Sul senso della vita" (Bologna, il Mulino, 2016), focusing on three issues. First, I suggest that an accurate account should accommodate both a prospective and a retrospective mode of the reflection on meaning in one’s own life. Second, I argue that Lecaldano’s distinction between meaningfulness and morality is underdetermined in two respects: (a) because a more flexible view of morality is able to integrate (...) a consideration of meaningfulness in terms of the agent’s own perfection, avoiding moralistic implications, and (b) because a genuine separation between meaningfulness and morality seems to make sense only from a third-person standpoint. Third, I argue that Lecaldano’s sentimentalist view is not supported by conclusive arguments and cannot account for the possibility of a meaningful life without feelings of accomplishment and affirmation. (shrink)

[First published in Italian as: “L’irreligione e lo spettatore imparziale nel sistema morale di Adam Smith”, in Rivista di Filosofia 3 (3):375-403 (2005). -/- Translated by E. Lecaldano.] -/- A number of commentators on Smith’s philosophy have observed that the relationship between his moral theory and his theological beliefs is “exceedingly difficult to unravel.” The available evidence, as generally presented, suggests that although Smith was not entirely orthodox by contemporary standards, he has no obvious or significant irreligious commitments or (...) orientation. Contrary to this view of things, this essay argues that behind the veneer of orthodoxy that covers Smith’s discussion in The Theory of the Moral Sentiments there are significant irreligious themes present in his work. -/- . (shrink)

Johann Gottfried Herder, like his contemporaries, reflected on language and in 1772 published the Treatise on the Origin of Language, which in the previous year had earned the distinction of the Berlin Academy for best essay. However, even today, much of his thought is unknown, ignoring the fact that some of the modern approaches of contemporary philosophy, philosophical anthropology or even sociobiology are already stated there, namely in the narratives resulting from the enunciation of the four natural laws. More than (...) justifying the origin of language, the philosopher’s essay also allows us to understand human nature, inserting its genesis at the heart of philosophical anthropology and contradicting, if not even confronting in this way, the divine tradition of this attribution. Thus, at first, a generic analysis of the work will be carried out, highlighting the fundamental theses that will allow the establishment of a dialogue with some of the contemporary philosophical approaches. Then, admitting the possibility of a scenario of technological singularity, as stated by Irving John Good, Vernor Vinge or Ray Kurzweil, to verify the plausibility and validity of Herder’s theses regarding the scope of language and human nature and how this could constitute a frontier of resistance. (shrink)

Ėstetika antichnosti -- Ėstetika srednikh vekov -- Ėstetika vozrozhdenii︠a︡ -- Ėstetika frant︠s︡uzskogo prosveshchenii︠a︡ -- Ėstetika nemet︠s︡kogo prosveshchenii︠a︡ -- Ėstetika angliĭskogo prosveshchenii︠a︡ -- Ėstetika "Buri i natiska" -- Nemet︠s︡kai︠a︡ klassicheskai︠a︡ ėstetika.

RESUMO Entre a vasta produção de Eduardo Coutinho, destaca-se o documentário Jogo de cena, celebrado como “objeto solar” da filmografia do cineasta, no qual a entrevista ocupa um lugar central. O objetivo deste artigo é refletir discursivamente sobre ela a partir de cenas de fala postas a circular em relação às escolhas estéticas e à materialidade do documentário; natureza da relação entrevistador-entrevistadas, marcada pela recusa a uma “suposta neutralidade” e produção de agenciamentos, cenografias e mundo ético. Para isso, são acionados (...) conceitos basilares da Análise do Discurso, como interdiscurso, cenografia, agenciamento e ethos discursivo, conforme formulados por Dominique Maingueneau. Os resultados mostram que é possível estabelecer diálogos profícuos com os dispositivos metodológicos de Coutinho e conceitos da Análise do Discurso. A partir de uma aura mística do seu silêncio acolhedor, pode-se depreender um ethos respeitoso e atencioso do entrevistador em relação às falas das personagens. ABSTRACT Among Eduardo Coutinho’s vast production, the documentary Jogo de cena stands out and is celebrated as being the centerpiece of the filmmaker's filmography, in which the interviews occupy a central place. The purpose of this article is to reflect upon these interviews, discursively, based on: speech scenes put in perspective and in relation to the aesthetic choices and materiality of the documentary; nature of the interviewer-interviewee relationship, marked by the refusal of an “alleged neutrality” and the production of settings, scenographies, and ethical worlds. For this, we articulated basic concepts of Discourse Analysis, as theorized by Dominique Maingueneau, such as interdiscourse, scenography, setting and discursive ethos. The results demonstrate that it is possible to establish a dialogue between Coutinho’s methodological apparatus and concepts of Discourse Analysis. From a mystical aura of his welcoming silence, the interviewer’s respectful and considerate ethos in relation to the characters' speeches can be inferred. (shrink)