Sulla base di una straordinaria analisi dei problemi deontologici riconducibili alla crisi della professione medica, Ivan Cavicchi e un gruppo di lavoro multidisciplinare – promosso e organizzato dall’Ordine dei Medici Chirurghi e Odontoiatri della Provincia Autonoma di Trento, in collaborazione con il programma FBK per la salute della Fondazione Bruno Kessler e il gruppo di Biodiritto del l’Università di Trento – hanno rielaborato le basi concettuali della tradizionale deontologia medica per mettere in condizione gli Ordini dei Medici di riformare (...) il proprio codice deontologico. Si tratta di una vera e propria «rivoluzione» destinata a modificare nei prossimi anni la deontologia nel nostro Paese, a influenzare la redazione dei futuri codici di tutte le professioni medico-sanitarie, ma soprattutto a cambiare radicalmente i rapporti tra medici e cittadini, tra professione e società, tra medicina ed economia. Assumendo il malato come «archè», la proposta di rielaborazione cambia postulati, presupposti, linguaggi, concetti, soluzioni e obiettivi, affrontando problematiche usualmente ignorate dalla deontologia convenzionale. Lo scopo di fondo è definire una nuova figura di medico capace di recuperare il rapporto fiduciario con i malati e con la società e di farsi carico dei problemi di sostenibilità economica che ormai da anni gravano su tutti i sistemi di tutela sanitaria. (shrink)

We tend to associate Henry David Thoreau with the renunciation of material possessions, projecting onto him our fantasies of a life lived beyond the modern obsession with "things." But Thoreau's practical philosophy held a special place for tools, artworks, Native American artifacts, and a variety of natural phenomena. In Mindprints, Ivan Gaskell focuses on the material items that were important to Thoreau, using them to reveal Thoreau's unique and profound aesthetics of everyday life and the environment. "Mindprint" was Thoreau's (...) term for a material object that has captured the presence of its maker and first user. Thoreau applied the term to ancient stone artifacts and other objects in an effort to capture something of the relationship between material items and humans. For Thoreau, these relationships contribute to the creation of "worlds." By looking at Thoreau's engagement with material worlds through his writings and his practical philosophical experiment at Walden Pond--but also, importantly, via his work as a designer of improved pencils, as a house builder, as a land surveyor, and as a collector--Gaskell reveals the aesthetics at the heart of Thoreau's thinking. (shrink)

The spirit in you -- We are one -- The Druid path -- Rebirth into spirit -- Starting your journey -- Becoming a bard -- Mastering awareness -- Ritual and ceremony -- Spiritual cleansing -- Sacred creativity -- The power of manifestation -- The freedom of transformation -- Magical adventures -- The spirit of Gaia -- The four elements -- Earth -- Water -- Air -- Fire -- Spirit dancer -- The continuing life of Ivan Mcbeth.

Austin’s destructive contextualist criticism of the theory of knowledge, as grounded on foundationalism, is presented. It is claimed that incorrigibility is not a secondary issue for the foundationalist conception of knowledge and justification, even if the hallmark of foundationalism is not to be sought in the so-called ‘quest for certainty’, but rather in the idea of epistemological realism.

How to Do Things with Myths: A Performative Theory of Myths and How We Got There assembles a radically updated collection of the author's oft-cited publications on myth. Together, they tell how theories of myth have changed and led to a novel "performative" theory of myth.

The "theory of mind" framework has been the fastest growing body of empirical research in contemporary psychology. It has given rise to a range of positions on what it takes to relate to others as intentional beings. This book brings together disparate strands of ToM research, lays out historical roots of the idea, and indicates better alternatives.

This book argues that Nietzsche's Thus Spoke Zarathustra employs circular and cyclical (diurnal and seasonal) symbols to communicate both the life-affirmative and the cosmological aspect of "recurrence" as a unifying idea. It shows that twelve day cycles, which run throughout the book's narrative, and the one full annual cycle, which encompasses the circular and the diurnal images in a continuous cycle of life affirmation, track Zarathustra's ever-changing identity throughout the text. In representing the eternal recurrence, the circular and the cyclical (...) symbols respectively convey the book's central message: Zarathustra comes into being in order to affirm existence as the teacher of eternal recurrence in an endlessly repeating cosmos. The study complements recent findings that Nietzsche's book is on eternal recurrence by establishing the unity among its language, structure, and fundamental conception, which solves the century-old problem of the communication or location of the doctrine within the text. The book is designed for the specialised audience of Nietzsche studies. It would also appeal to both students and professors in various disciplines across humanities and social sciences, as well as to anyone interested in understanding the basic tenets of Thus Spoke Zarathustra. (shrink)

I discuss the role of beauty in physics. Physicists are sometimes described as platonists for their conviction that the fundamental laws are elegant and aesthetic arguments represent an important epistemic tool. After a review of the ideas of Plato and some of the leading figures of modern physics, which suggest that this is indeed the case, I present a list of current aesthetic criteria. I focus on symmetry and unity and demonstrate their increasing relevance in an array of experimentally verified (...) theories. I also deal with an open issue of naturalness as the third criterion. The laws of nature appear increasingly beautiful as we uncover them, and it is important to see if the trend continues in the future. (shrink)

When we talk about creation, we use the progressive and verbs of creation as in ‘Mary is building a house’. The modal account of the progressive says that a sentence such as ‘Mary is building a house’ is true just in case Mary eventually builds a house in all worlds in which her house-building proceeds normally. Recently, the modal account has come under fire from those who claim that it over-generates modal entailments and those who think the progressive should be (...) treated as a predicate of events. By properly situating the modal account within a contemporary semantic framework for natural language modals, I argue that it gives the best semantic treatment of the progressive. (shrink)

The research deals with the issue of genre hybridization in the novel “Silence – Chronicle of a Killer” written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel “Silence” is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, and (...) a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him. (shrink)

In this paper, we examine the political and educational relevance of Hannah Arendt’s account of friendship. Drawing from Arendt’s central works on friendship, we offer a novel interpretation of the concept by connecting the notion with the idea of educational ‘love for the world’, amor mundi. With this interpretation, we seek to demonstrate that the concept of friendship has both direct educational and indirect political significance. Thereby, we distinguish our interpretation from two previous understandings of the educational relevance of the (...) Arendtian notion of friendship—those by (1) Aaron Schutz and Marie G. Sandy, and (2) Morten T. Korsgaard—in which friendship is either assigned a specifically political role (as in (1)) or its significance to education is narrowly understood (as in (2)). We argue our interpretation of friendship offers both a new contribution to the understanding of the relationship between education and politics in the context of Arendt scholarship, and a novel way of thinking about the educational significance of friendship in the context of contemporary democratic politics, especially the prevailing political polarization. (shrink)

La pensée heideggérienne de l'être recèle un paradoxe : elle est à la fois le lieu de découvertes prodigieuses et de l'occultation d'une partie importante de l'être de l'homme : la dimension éthique. Afin de comprendre ce phénomène, notre recherche prend pour fil conducteur la manière restrictive dont Heidegger interprète le bien de Platon, à travers tout son chemin de pensée.

La Teoria dello Scrigno offre una visione d'insieme dei meccanismi che sono alla base della comunicazione musicale e delle espressioni della cultura, attraverso uno studio sociologico, musicologico e psicologico della nostra comprensione della Musica. Conseguenze della Teoria, discussa ampiamente sotto forma di un modello organizzato, sono, da un lato, lo stimolo rivolto al Musicista verso la creazione di una musica che non si limiti a essere formalmente corretta ma che cerchi, innanzitutto, di comunicare attraverso la ricerca della genuinità; dall'altro, il (...) riposizionamento del ruolo dell'Ascoltatore come soggetto attivo nella comunicazione musicale, mediante la creazione di un giudizio critico consapevole in grado di guidarlo con lucidità nel processo di fruizione. Mediante collegamenti con l'opera di Hofstadter sulla semiotica dei messaggi, quella di Heisenberg ed Einstein nella Meccanica quantistica e classica, le riflessioni sul gioco suggerite da Huizinga, così come le ricerche sugli stadi cognitivi del bambino svolte da Vygotskij e attraverso sigolari case offerti dalla linguistica, l'autore ci accompagna con esempi concreti alla ricerca di uno stringente filo conduttore che consenta al lettore di sviluppare una rinnovata sensibilità verso le forme poliedriche che le culture possono esprimere, analizzando infine anche l'evoluzione della comunicazione musicale mediata dai social e, più in generale, imposta dai paradigmi della società dei consumi"--Back cover. (shrink)