In this paper we study coalitions of indirect stockholders of a company showing that they can have different controlling power, and therefore different relevance in the control problem. We then introduce a suitable classification, and three algorithms to find all the coalitions of all relevances.

The entailment connective is introduced by Priest (2006b). It aims to capture, in a dialetheically acceptable way, the informal notion of logical consequence. This connective does not “fall foul” of Curry’s Paradox by invalidating an inference rule called “Absorption” (or “Contraction”) and the classical logical theorem called “Assertion”. In this paper we show that the semantics of entailment, given by Priest in terms of possible worlds, is inadequate. In particular, we will argue that Priest’s counterexamples to Absorption and Assertion use (...) in the metalanguage a dialetheically unacceptable principle. Furthermore, we show that the rejection of Assertion undermines Priest’s claim that the entailment connective expresses the notion of logical consequence. (shrink)

Enrico Berti has had a profound influence on the birth and development of Italian studies in ancient philosophy. His sizable work has shaped a great part of Italian studies on Aristotle and other ancient philosophers. To celebrate him and express their gratitude for his work, some of his disciples, under the impulse of the late Franco Volpi, have brought together a volume in his honour, requesting the participation of some foreign scholars particularly close to him. The volume comprises essays (...) by Pierre Aubenque, Jonathan Barnes, Terence H. Irwin, Tomás Calvo-Martínez, Jaap Mansfeld, Pierre Pellegrin, Gerhard Seel and Alejandro G. Vigo. The main themes are Aristotle's metaphysics and practical philosophy. A Selected Bibliography by E. Berti himself completes the volume."--Publisher's website. (shrink)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

1. Epistemologia, logica e dialettica -- 2. Fisica, antropologia e metafisica -- 3. Filosofia pratica -- 4, pt. 1. L'influenza di Aristotele: antichità, Medioevo e Rinascimento -- v. 4, pt. 2. L'influenza di Aristotele: età moderna e contemporanea.

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Enrico Müller legt hier die erste philosophische Gesamtdarstellung zur Bedeutung der Griechen für Nietzsches Denken vor. Er zeigt, wie sich in Auseinandersetzung mit dem Griechentum Nietzsches eigene Philosophie entwickelte, und problematisiert deren Abgrenzungen von der Logosphilosophie der griechischen Klassik. Müller kommt dabei zu dem Schluss, dass auch Nietzsches Philosophie letztlich auf die Vorgaben der sokratisch-platonischen Dialektik angewiesen bleibt.

A rigorous ab initio derivation of the (square of) Dirac’s equation for a particle with spin is presented. The Lagrangian of the classical relativistic spherical top is modified so to render it invariant with respect conformal changes of the metric of the top configuration space. The conformal invariance is achieved by replacing the particle mass in the Lagrangian with the conformal Weyl scalar curvature. The Hamilton-Jacobi equation for the particle is found to be linearized, exactly and in closed form, by (...) an ansatz solution that can be straightforwardly interpreted as the “quantum wave function” of the 4-spinor solution of Dirac’s equation. All quantum features arise from the subtle interplay between the conformal curvature acting on the particle as a potential and the particle motion which affects the geometric “pre-potential” associated to the conformal curvature itself. The theory, carried out here by assuming a Minkowski metric, can be easily extended to arbitrary space-time Riemann metric, e.g. the one adopted in the context of General Relativity. This novel theoretical scenario appears to be of general application and is expected to open a promising perspective in the modern endeavor aimed at the unification of the natural forces with gravitation. (shrink)

This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...) instance documentaries that resort to reenactments. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? The paper affirmatively answers to this question by relying on the notion perceptual belief, that is, a belief that one can form by endorsing one's perception. Documentaries are defined as films that mandate us to form perceptual beliefs. Even if a docudrama mandates us to form beliefs, it does not mandate us to form perceptual beliefs, and thus does not count as a documentary. By contrast, a documentary that resorts to reenactments still mandates us to form perceptual beliefs and thus properly satisfies the definition proposed. (shrink)

The idea of an ?inversion principle?, and the name itself, originated in the work of Paul Lorenzen in the 1950s, as a method to generate new admissible rules within a certain syntactic context. Some fifteen years later, the idea was taken up by Dag Prawitz to devise a strategy of normalization for natural deduction calculi (this being an analogue of Gentzen's cut-elimination theorem for sequent calculi). Later, Prawitz used the inversion principle again, attributing it with a semantic role. Still working (...) in natural deduction calculi, he formulated a general type of schematic introduction rules to be matched ? thanks to the idea supporting the inversion principle ? by a corresponding general schematic Elimination rule. This was an attempt to provide a solution to the problem suggested by the often quoted note of Gentzen. According to Gentzen ?it should be possible to display the elimination rules as unique functions of the corresponding introduction rules on the basis of certain requirements?. Many people have since worked on this topic, which can be appropriately seen as the birthplace of what are now referred to as ?general elimination rules?, recently studied thoroughly by Sara Negri and Jan von Plato. In this study, we retrace the main threads of this chapter of proof-theoretical investigation, using Lorenzen's original framework as a general guide. (shrink)

Name der Zeitschrift: Apeiron Jahrgang: 50 Heft: 4 Seiten: 435-448.

This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument against utilitarianism, (...) at least in the sense specified by Grau and Wartenberg. Finally, I will suggest a different way in which Eternal Sunshine, understood as a comedy of remarriage, might function as an argument against utilitarianism. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...) of their subjects, as, for instance, documentaries that resort to reenactment. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? This article affirmatively answers by relying on the notion of perceptual belief, that is, a belief that one can form by endorsing the demonstrative content of one's perception. While documentaries primarily involve the formation of perceptual beliefs, docudramas invite us to form nonperceptual beliefs by primarily involving the formation of perceptual imaginings. That is why docudramas are not documentaries. By contrast, a documentary that resorts to reenactment primarily involves the formation of perceptual beliefs, namely, perceptual beliefs about the reenactment itself. (shrink)

. “The Notebook Corner,” edited by Enrico Pattaro, makes its first appearance here as a new section of Ratio Juris. This new section can be described in a sense as an offshoot of the project for A Treatise of Legal Philosophy and General Jurisprudence, a work still in progress composed of five theoretical volumes and six historical ones. The theoretical volumes receive a brief presentation in the paper immediately below, with a specific focus on Volume 1, entitled The Law (...) and the Right: A Reappraisal of the Reality That Ought to Be. This volume is then discussed as well by Rosaria Conte and Cristiano Castelfronchi in the second paper of this “Notebook Corner”. (shrink)

The article presents the various phases in which one of the most eminent journals of the history of philosophy, the Archiv für Geschichte der Philosophie (1888–), dealt with Leibniz’s philosophy and his intellectual legacy. In particular, this study compares the main moments of historiographical interest and disinterest for this subject to the specific attitudes of the journal during the long 20th century.

Ce recueil comprend une vingtaine de mes articles, pour la plupart deja publie par ailleurs. Plusieurs d'entre eux ont paru en francais, la langue que je prefere pour la communication internationale; mais il n'y a pas tout ce que j' ai ecrit ou publie dans cette langue: je n'ai retenu que les etudes concernant la dialectique, la physique et la metaphysique d'Aristote, et parmi celles-ci seulement celles qui me paraissent les plus significatives. J'y ai ajoute cinq traductions d'articles publies en (...) italien ou en anglais et qui me semblaient constituer un complement utile aux theses developpees dans les autres. Le but de cette publication est avant tout de mettre a la disposition d'un public plus large les resultats de mes etudes sur ces differents themes, en lui permettant d'en avoir une vision pour ainsi dire synoptique - au risque de comporter des repetitions, dont je tiens a m'excuser ici. Comme il s'agit d'ecrits s'etendant sur une trentaine d'annees - le plus ancien remonte a 1979, mais il avait ete presente au Symposium Aristotelicum de 1972 -, il est inevitable que, sur plusieurs points, il y ait eu des changements d'opinion. Mais ceux-ci ne sont pas vraiment significatifs et il s'agit dans la plupart des cas de nuances, de differences d'accent ou encore de mises au point. Si j'ai choisi d'inclure ainsi des opinions que je ne soutiens plus de la meme maniere aujourd'hui, c'est dans une intention dialectique, au sens aristotelicien du terme, c'est-a-dire pour fournir tous les arguments en faveur d'une these aussi bien que tous ceux qui lui sont opposes, de maniere a developper les apories dans les deux directions, ce qui, pour Aristote, constitue la meilleure maniere de distinguer le vrai du faux. (shrink)

Numenius is an author who straddles the line between Middle Platonism and Neoplatonism. In this contribution, I focus on the differences between the second and the third God, which emerge from analyses of the relevant fragments. Numenius emphasizes, on several occasions, how the second God (i.e., the demiurge) has a dual nature. In this paper, I investigate the role of the demiurge in Numenius and examine in what sense the second and third God are “one.” On the one hand, Numenius (...) seems to be stressing the unity of the second and third levels of reality, but on the other hand, he also appears to be differentiating them. The present analyses concentrate on fragments 19F, 24F, 29T and 30T (respectively 11, 16, 21, and 22 in des Places’ edition). My purpose is to demonstrate that, according to Numenius, the second and the third God are one because they both can be regarded as demiurgic. Thus, Numenius conceives a kind of “double demiurgy,” which preserves the distinction between the second and the third God, who are distinguished from an ontological point of view, but who, at the same time, share a demiurgic function. The second God is then the paradigm, whereas the third God is immanent in matter as a ruling principle of the cosmos, which is similar to the World Soul, as he operates on matter in order to make it rationally ordered. (shrink)

The technological control of female bodies and the bio-political control of artificial reproduction have become central issues within feminist philosophical thinking, becoming an obligatory point of reference toward deepening the conceptual, political, social and symbolic connection between women's bodies and assisted reproductive technologies (ARTs). In this essay, my attention will be focused primarily on eco-feminist theses that firmly oppose the diffusion of assisted reproductive technologies and the legitimization of «pregnancy contracts». According to the «resistance eco-feminists», (those against ARTs), the process (...) of assisted reproduction does not expand procreative rights, does not free women from infertility, nor does it enable them to truly experience of motherhood. Behind the therapeutic paradigm within which reproductive technologies justify themselves, there hides a bio-power that has refined the tools necessary in order to wrest control of the reproductive experience from women. The colonization of women thusly proceeds along with the colonization of nature and life. The selection of fertile elements involves the biological-genetic and social dissection of living organisms, be they plants or animals: the woman, sectioned and fragmented, becomes a composite human being, a «dividual» being rather than an individual. (shrink)