En la autobiografía viquiana el relato es precisamente la puesta en obra del tiempo, el tiempo se vuelve el protagonista absoluto de la narración a través de la continua remisión dialógica entre el tiempo de la escritura y el tiempo de la vida.In Vico's autobiography, the tale is precisely the narration of time. This way, time becomes the absolute protagonist of the narration, through the continuous dialogical connection between the time of the writing and the time of life.

Este ensayo aborda la importancia del "origen" y de los "principios" en relación a la atención que Vico presta al cuerpo y a la corporeidad en los inicios. El cuerpo es, por tanto, a la vez un principio y trámite de humanidad; pero también es como chispa y origen de conocimiento, como la puerta a través de la que entramos en contacto con el mundo, y entonces como el primer y esencial criterio de valoración a través del cual donamos sentido (...) a las cosas del mundo mismo. La "sabiduría poética" de la Scienza nuova abre así la posibilidad de un nuevo saber centrado propiamente en el cuerpo, que, sin embargo, no puede ser pensado como pasiva e instintiva sensitividad, sino como creativa y activa sabiduría del sentido.This paper is concerned with the importance of the "origin" and the "principles" in connection with particular attention Vico pays to the body. The body is both a principle and a source of knowledge, an open door through which we keep contact with the world. From this view it appears also as an essential criterion in terms of which we understand and make sense of the many different things which make the world up for us. The Scienza nuova´s poetical knowledge gives rise to a new type of wisdom rooted in the body, which, far from being inoperative or instintive, is a wholly creative faculty. (shrink)

¿Es hoy aún posible pensar la creatividad sin el método, la invención sin la regla? La historia nos enseña que el arte es siempre inevitablemente tanto fantasía como disciplina, tanto creatividad como técnica, tanto genialidad como orden, y allí donde prevalece sólo uno de los dos momentos la creación artística corre siempre el riesgo de degenerar o en un mero delirio creativo sin resultados concretos o en un exasperante formalismo sin inspiración. De las reflexiones barrocas de Baltasar Gracián y de (...) Giambattista Vico nos viene la invitación a concebir la creatividad como ingenio, por lo tanto, a entender la creatividad como la capacidad de captar relaciones inéditas entre las cosas, las ideas o las palabras, o de formular intuiciones imprevisibles e imprevistas para los esquemas de pensamiento habituales o tradicionales, aunque reelaborando y conectando originalmente materiales ya dados. Este diverso modelo de creatividad, un modelo especialmente barroco, trata así de evitar el doble peligro de la exasperación fantástica, por un lado, y de la mortificación creativa, por el otro. Descubrir y profundizar la relación entre creatividad e ingenio, así como fue elaborado por Gracián y por Vico, puede entonces contribuir a arrojar nueva luz sobre la noción misma de creatividad, enriqueciéndola siempre con nuevos y más amplios significados.Palabras clave: creatividad, ingenio, Gracián, Vico. Is it still possible to think about creativity without method, or invention without rule? We can learn from history that art is always, unavoidably, a matter of fantasy as well as of discipline, of creativity as well as of technique, of geniality as well as of order; and that wherever only one of those moments prevails, artistic creation runs the risk of degenerating into mere creative delirium, with no concrete results, or in exasperating formalism, deprived of any inspiration. Baroque reflections of Baltasar Gracian and Giambattista Vico invite us to understand creativity as inventiveness, namely the capacity to grasp unprecedented links between things, ideas or words, or to formulate intuitions that were unpredictable and unpredicted for the traditional schemes of convencional or traditional thought, even if re-elaborated, and connecting well known materials in an original way. It is the aim of this particularly baroque model of creativity to avoid the double danger of fantastic exasperation, on the one hand, and creative mortification, on the other. Discovering and considering the relationship between creativity and inventiveness, as Gracian and Vico devised them, could therefore throw some light on the very notion of creativity, enriching it with new and broader meanings.Keywords: creativity, inventiveness, Gracian, Vico. (shrink)

This essay develops an account of artistic creativity based on Martin Buber’s theory of dialogue. Crucially, Buber distinguishes between the It that is objectified in experience and use and the You whom we meet as a whole person in dialogical relationships. Buber’s emphasis on dialogue as the core of what it means to be human suggests that the human significance of art might also be in its dialogical potential. The problem, however, is that artists, psychologists, critics, and philosophers often treat (...) artistic creativity in objective terms and thus make any dialogical ontology of art implausible. To address this issue, the essay proposes a dialogical anthropology of art that acknowledges the objective conditions of art-making and locates the human significance of art in the non-objective interfaces it opens between the artist and his or her world. Such an account brings to light the ways in which art may invite people into “unfinalizable” dialogical relationships with the world they inhabit. (shrink)

What is the relevance of organizing knowledge in distinct conceptual fields when everything has become cultural with no distinct areas anymore? Is, for example, Western traditional aesthetics as an autonomous cognitive discipline always relevant in the age of multiculturalism? This essay argues, albeit controversially, that the perspective of socalled cultural studies has opened new doors by adopting a more radically pluralistic and inclusive approach – one whereby aesthetic categories are thought in terms of cultural practices. Despite the many defects of (...) such culture-related studies – such as their eclecticism, lack of scientific rigor, or methodological unreliability – the challenges of today’s multicultural society demand that we pay more attention at all levels to the roles played by difference and dialogue with otherness. This includes overcoming any form of ethnocentricity in our cognitive cultural disciplines; incorporating new topical horizons, whether economic, political or social; and rethinking the very nature of value, meaning and way of life. (shrink)

El autor estudia la concepción viquiana de la Universidad desde la función que cumple en la construcción del saber insertándola en el marco del paradigma retórico, frente al modelo disociativo de la modernidad. Vico es el defensor de una paideia que rechaza todo especialismo, para alcanzar la integración metodológica de todas las facultades humanas. Ello comporta un maridaje entre la imaginación y el entendimiento, entre razón retórica y razón crítica. El resultado es una dialéctica de la copresencia, de la integridad (...) y de la cooperación recíproca. (shrink)

The article aims at remembering Mario Perniola, died last year, philosopher and author of a large number of books translated all over the world, devoted especially to the field of aesthetics, whose research could be intended as an open reflection dealing with not only the traditional topics of the discipline, but with the broad and differentiated phenomena involving the sphere of perception and feeling, operating in the world of communication and media, in society, politics, religion, and arts. The distinctive feature (...) of his thought is here identified in his extraordinary ability to put in contact different and distant authors, concepts and things and at the same time to separate them, giving rise to the development of subtle, smart and penetrating concepts capable of reading our time. Thus his research is here defined as a “philosophy of between”, which strives to think of the intermediate state that separates but also that space connecting; a philosophy that rejects any apocalyptic position but at the same time avoids surrendering to the society of spectacle and communication in which we live. (shrink)