Per una sociosemiotica della comunicazione musicale -- Per una sociosemiotica dei generi musicali -- Per una sociosemiotica della novità in musica -- Per una sociosemiotica del dubstep.

Correspondence theories are frequently either too vaguely expressed – “true statements correspond to the way things are in the world,” or implausible – “true statements mirror raw, mind-independent reality.” I address this problem by developing features and roles that ought to characterize what I call ldquo;modest” correspondence theories. Of special importance is the role of correspondence in directing our responses to cases of suspected non-factuality; lack of straightforward correspondence shows the need for, and guides us in our choice of, various (...) kinds of reconstrual projects. This, I argue, is in contrast to the approaches suggested by deflationism and coherence, and thus modest correspondence theories are appropriately distinct from rivals. (shrink)

No anthropologist has been as influential outside the own discipline as Lévi-Strauss. From philosophy to history, from politics to literary criticism, from linguistics to sociology, from psychoanalysis to poetry, from art to contemporary music, the œuvre of the author of Tristes Tropiques has fallen on these fields like a beneficial rain, giving them new life. Such a great influence has several reasons. The design of a wide-ranging anthropological project, its philosophical implications, an immense and precious erudition which allows to build (...) connections between the most different fields of humanistic and scientific knowledge, and lastly a great writing, rich of literary vibrations. All the great questions of the present, from the world’s overpopulation to cultural relativism, from the resurgence of the myth to the return of localisms, from the war of the veil to genetic manipulations, all subjects appear in the œuvre of Lévi-Strauss, always in a provocative and anticipatory formulation which represents the precious heritage of the last of the classics. (shrink)

No anthropologist has been as influential outside the own discipline as Lévi-Strauss. From philosophy to history, from politics to literary criticism, from linguistics to sociology, from psychoanalysis to poetry, from art to contemporary music, the œuvre of the author of Tristes Tropiques has fallen on these fields like a beneficial rain, giving them new life. Such a great influence has several reasons. The design of a wide-ranging anthropological project, its philosophical implications, an immense and precious erudition which allows to build (...) connections between the most different fields of humanistic and scientific knowledge, and lastly a great writing, rich of literary vibrations. All the great questions of the present, from the world’s overpopulation to cultural relativism, from the resurgence of the myth to the return of localisms, from the war of the veil to genetic manipulations, all subjects appear in the œuvre of Lévi-Strauss, always in a provocative and anticipatory formulation which represents the precious heritage of the last of the classics. (shrink)

1. Il problema della povertà evangelica e francescana nel sec. XIII e XIV. Origine del pensiero politico di G. d'Ockham.--2. Il potere come servizio. Dal Principatus dominativus al Principatus ministrativus.

1. La conoscenza -- 2. Dio -- 3. La natura -- 4. L'uomo.

Name der Zeitschrift: Der Islam Jahrgang: 92 Heft: 2 Seiten: 442-467.

On Harrison Hall's reading, Kierkegaard uses the terms translated ?eternal happiness? and ?salvation? to refer to a quality of this?worldly life. As I understand him, the author denies that Kierkegaard believed in an afterlife. While acknowledging the vein of meanings that ?Love and Death . . .? point to, I argue that Kierkegaard did in fact look forward to an eternal life in the traditional, Biblical, and so?called common sense of the term. In connection with his views on the question (...) of salvation, Hall holds, and I take issue, that for Kierkegaard Christianity has a minimal objective content. (shrink)

Two aspects of consciousness are first considered: consciousness as awareness (phenomenological meaning) and consciousness as strategic control (functional meaning). As to awareness, three types can be distinguished: first, awareness as the phenomenal experiences of objects and events; second, awareness as meta-awareness, i.e., the awareness of mental life itself; third, awareness as self-awareness, i.e., the awareness of being oneself. While phenomenal experience and self-awareness are usually present during dreaming (even if many modifications are possible), meta-awareness is usually absent (apart from some (...) particular experiences of self-reflectiveness) with the major exception of lucid dreaming. Consciousness as strategic control may also be present in dreams. The functioning of consciousness is then analyzed, following a cognitive model of dream production. In such a model, the dream is supposed to be the product of the interaction of three components: (a) the bottom-up activation of mnemonic elements coming from LTM systems, (b) interpretative and elaborative top-down processes, and (c) monitoring of phenomenal experience. A feedback circulation is activated among the components, where the top-down interpretative organization and the conscious monitoring of the oneiric scene elicitates other mnemonic contents, according to the requirements of the dream plot. This dream productive activity is submitted to unconscious and conscious processes. (shrink)

The use of facial recognition systems in concerts provides a perfect pretext to semiotically discuss the role of the face in contemporary culture, identifying different strategies and axiologies (systems of values). In his visionary essay Bruits (“noises”) from 1977, the French thinker Jacques Attali establishes a close connection between music and power and locates it in the site of the collective unfolding of music: the concert hall. Following this hint, the article reconstructs the current debate on facial recognition systems in (...) the music business, with a particular focus on concerts and festivals. The different positions (of musicians, authorities, and professionals) are outlined (some are openly in favor, others openly against), key moments are identified (Beyoncé’s concert in Cardiff, 2017; Jacky Cheung’s in Nanchang, 2018; Taylor Swift’s at the Rose Bowl in Pasadena, 2018; the “banfacialrecognition.com” campaign launched in 2019; the case of Barbara Hart at Brandi Carlile’s show at the Madison Square Garden, 2022) and, finally, the issue is framed within the broader debate about the face as an indexical marker of presence, identity, and humanity (the contrast between Italian philosopher Giorgio Agamben and American sociologist and design theorist Benjamin Bratton is addressed). (shrink)

Each volume of this series of Companions to major philosophers contains specially-commissioned essays by an international team of scholars, together with a substantial bibliography, and will serve as a reference work for students and non-specialists. The contributors to this Companion probe the full depth of Kierkegaard's thought revealing its distinctive subtlety. The topics covered include Kierkegaard's views on art and religion, ethics and psychology, theology and politics, and knowledge and virtue. Much attention is devoted to the pervasive influence of Kierkegaard (...) in twentieth-century philosophy. New readers will find this the a convenient and accessible guide to Kierkegaard. Advanced students and specialists will find a conspectus of recent developments in the interpretation of Kierkegaard. (shrink)

In this volume, political theorists, philosophers and legal scholars critically engage with this idealisation of Levinas ethics.