A través de una comparación entre Vico y Hobbes se aborda la concepción de la política como un facere y el rol de las emociones, vinculadas a la biografía de los dos autores . El autor aplica el esquema de emociones rojas y blancas, basándose en la distinción de B. Williams y la utilización de A. Margalit. Esta herramienta la aplica a la clarificación de ciertas teorías políticas en Leviathan y en Scienza nuova.PALABRAS CLAVE: Vico, Scienza nuova, Hobbes, Leviathan, emociones, (...) miedo, vergüenza, filosofía política. By comparing Vico and Hobbes, the conception of politics as a facere is considered, as well as the role of emotions, which are here linked with the biographies of those two authors . The author applies B. Williams’ distinction between red and white emotions, following A. Margalit. This tool is used in order to clarify some political theories in Leviathan and in Scienza Nuova.KEYWORDS: Vico, New Science, Hobbes, Leviathan, emotions, fear, shame, political philosophy. (shrink)

Ratio Juris, Volume 35, Issue 1, Page 30-37, March 2022.

Abstract“Equality” is a notion about which disagreement arises not simply due to lack of clarity and precision (or intellectual dishonesty and bad faith). Rather, equality is an idea that implies and implicates some form of disagreement as a constitutive possibility of its horizon of discussion. This, in my view, is both a problem and an opportunity. I submit that equality is a plural notion: There are only equalities, practices aimed at removing situated circumstances of inequality and discrimination.

The subject of this paper is the relationship between marriage and equality in Giambattista Vico. In his writings Vico gives the notion of marriage a unique importance, not framed on any oversized notion of nature or natural law but on the political fight for the right to marry (a quest for full citizenship status). The right to marry is linked with complex dynamics of human equality, and to a notion of human nature shaped by belief-dependent institutions.

If speaking of justice were the same thing as banging on the table, then normative discourse could not be taken seriously. The aim of this paper, however, is to vindicate the meaningfulness, and rationality, of normative discourse, and to outline its conditions of possibility. Normative discourse can be understood as if there were, in its structure, different “stages,” or layers. In the transition from one stage to the next, complexity increases. Thus, I shall depict the emergence of normative discourse as (...) a kind of genetic process. (shrink)

The starting point of this paper is the idea of individual autonomy: Autonomy from the social body and from its influences, i.e., broadly speaking, autonomy from the “whole” of which the individual is a part. In particular, I shall address some of the problems arising out of the relations between the whole and its parts, basically problems of law and morality. We are accustomed to thinking that the relation between a particular individual and the universal whole to which the individual (...) belongs should be a happy relationship. Such “happiness,” however, will prove to be—from the liberal perspective here assumed—a problematic notion. From such premises as these, an argument will be developed, on behalf of social recognition and legal protection for out‐of‐the mainstream forms of behaviour or lifestyles, i.e., for individuals or groups that claim the “otherness” of their position together with a right of freedom from discrimination. (shrink)

Este artículo examina la concepción del espacio infinito y del tiempo en Hasdai Crescas, Gianfrancesco Pico della Mirandola y Giordano Bruno. Si la presencia de Crescas es explícita en el _Examen vanitatis_ (1520) de Pico, su recepción por Bruno, que nunca lo menciona, fue postulada por Harry A. Wolfson en 1929. Más recientemente, David Harari y Mauro Zonta han afirmado el papel intermediario de un autor judío desconocido. Sin embargo, una comparación de la crítica de Aristóteles efectuada por Crescas (...) y Bruno pone de manifiesto que, excepto dos puntos, Bruno pudo alcanzar sus posiciones con independencia de Crescas, a partir de su propia lectura crítica de Aristóteles y de su conocimiento de los desarrollos de la escolástica medieval y del concepto neoplatónico del tiempo. La significativa calificación por Crescas del espacio y del tiempo como atributos de Dios en un sentido puramente metafórico, una cuestión que Pico deja a un lado, deja paso en Bruno a la calificación del espacio infinito, de la duración y también de la materia como atributos reales de Dios, que es a la vez mente e intelecto, espacio y materia, en tanto que unidad indiferente de los opuestos. (shrink)

The origins of this book go back to I956 when it was suggested to me that a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philoso phy of the Italian Renaissance. It was not, however, until I960 that I could devote a significant portion of my time to a realization of this goal. My work was essentially completed in 1963, at which time it was presented in its original (...) form as a doctoral dissertation in the Phi losophy Department of Columbia University. Since then I have made many minor improvements and several chapters have been extensively reworked. This study represents the first attempt in fifty years to give a detailed account of even a portion of Gianfrancesco Pico's life and thought. The most comprehensive previous study, Gertrude Bramlette Richards, "Gianfrancesco Pico della lv1irandola" (Cornell University Dissertation, I 9 I 5), which I have found very useful in preparing my own book, is largely based on secondary literature and is mistaken in a number of details. Furthermore, Miss Richards' treatment of Gian francesco Pico as a thinker is very sketchy and is not an exhaustive study of his own writings. It is hoped that my present study, built in part on her extensive bibliographical indications, brings forth a certain amount of new information which will be of value for further research. (shrink)

Este artículo reseña: Thomas CASADEI - Gianfrancesco ZANETTI, Manual de Filosofía del Derecho. Figuras, categorías, contextos, Prefacio y traducción de Fernando H. Llano Alonso, Madrid, Tecnos, 2023, 504 pp.

ResumenEn el marco intelectual del Renacimiento hubo una serie de pensadores que se mostraron disconformes con el aristotelismo dominante. La variedad de sus posturas así como lo distinto de sus posicionamientos filosóficos ha podido actuar como obstáculo para poder ver las similitudes que, en torno a la crítica aristotélica, presentan. El caso de Juan Luis Vives y de Gianfrancesco Pico puede resultar paradigmático, a estos se suma con fuerza Francisco Sánchez, quien dedicó una parte importante de su obra Quod (...) nihil scitur a criticar a Aristóteles, aunque más aún a sus comentaristas.Palabras claveFilosofía del Renacimiento, Francisco Sánchez, Juan Luis Vives, Gianfrancesco Pico, aristotelismo, historia de la filosofía.AbstractIn the intellectual frame of the Renaissance, there were some thinkers who did not agree with the Aristotelism prevailing at the time. The variety of their philosophical positions and opinions may have been an obstacle for an approach to their similarities regarding the Aristotelian critic. The case of Juan Luis Vives and Gianfrancesco Pico della Mirandola can be paradigmatic. Also Francisco Sánchez, who strongly joined their position, devoted an important part of his play Quod nihil scitur to criticize Aristotle –although he focused on his commentators above all.KeywordsPhilosophy in the Renaissance, Francisco Sanchez, Juan Luis Vives, Gianfrancesco Pico, Aristotelism, History of Philosophy. (shrink)

Indice Presentazione Giuseppe Lissa Introduzione dell'autore Capitolo I: Gran questione e vanitas scientiarum tra via Aristotelis e natural magia 1. Vanitas scientiarum e via Aristotelis 2. Riforma del sapere e natural magia Capitolo II: Scolastica medica, esperienza dei sensi, nettare della riflessione, volontà della natura 1. Labirinto delle scienze razionali e rocca della verità 2. Autorità, esperienza dei sensi e volontà della natura nel De Balneis 3. Brancaleone e la “gran questione” Capitolo III: Gran questione e natural magia nella “Napoli (...) alunna di tutte le scienze” 1. Alumbradismo e riforma religiosa 2. Natural magia, esperienza interiore, scienza perfetta 3. Infinità dell’intelletto: il Peretto e le femminelle Capitolo IV: Un tentativo di conclusione " 93 Appendice GianFrancesco Brancaleone, Breve Discorso di Giovan Francesco Brancaleone de la immortalità de l’anima con una stupenda visione sovra di ciò a lui apparsa Indice dei nomi. (shrink)

ResumenEn el marco intelectual del Renacimiento hubo una serie de pensadores que se mostraron disconformes con el aristotelismo dominante. La variedad de sus posturas así como lo distinto de sus posicionamientos filosóficos ha podido actuar como obstáculo para poder ver las similitudes que, en torno a la crítica aristotélica, presentan. El caso de Juan Luis Vives y de Gianfrancesco Pico puede resultar paradigmático, a estos se suma con fuerza Francisco Sánchez, quien dedicó una parte importante de su obra Quod (...) nihil scitur a criticar a Aristóteles, aunque más aún a sus comentaristas.Palabras claveFilosofía del Renacimiento, Francisco Sánchez, Juan Luis Vives, Gianfrancesco Pico, aristotelismo, historia de la filosofía.AbstractIn the intellectual frame of the Renaissance, there were some thinkers who did not agree with the Aristotelism prevailing at the time. The variety of their philosophical positions and opinions may have been an obstacle for an approach to their similarities regarding the Aristotelian critic. The case of Juan Luis Vives and Gianfrancesco Pico della Mirandola can be paradigmatic. Also Francisco Sánchez, who strongly joined their position, devoted an important part of his play Quod nihil scitur to criticize Aristotle –although he focused on his commentators above all.KeywordsPhilosophy in the Renaissance, Francisco Sanchez, Juan Luis Vives, Gianfrancesco Pico, Aristotelism, History of Philosophy. (shrink)

Gianfrancesco Guarnieri estreou no teatro brasileiro em 1958 com a peça Eles não usem black-tie. Assim como já ocorrera com a obra de dramaturgos europeus mais de meio século antes, nesta peça mais uma vez encena-se a crise formal do drama, na medida em que a forma se desencontra do conteúdo. Não sendo indiferentes estes pontos de vista, observam-se no próprio texto os embates entre forma dramática e conteúdo épico, ora prevalecendo uma, ora outra.