Le gouvernement de Mario Monti, qui s’est installé en Italie en novembre 2011, est sans doute un « gouvernement des experts », tous ses membres sont des spécialistes. Mais leur légitimité est fondée moins sur leur compétence que sur la différence de la « classe politique » qui les a précédés, et sur le fait qu’ils sont considérés comme les applicateurs de décisions rendues inévitables par les lois de l’économie : le « gouvernement de l’objectivité » après vingt ans de (...) personnalisme.Mario Monti’s government, which took office in Italy in November 2011, is undoubtedly a “government of experts”, since all its members are specialists. However, their legitimacy is based not so much on their areas of competence as on their difference compared to the previous “political class”, and on the fact that they are seen as responsible for applying decisions that the laws of economics have made inevitable. A “government of objectivity” after twenty years of personalisation. (shrink)

El trabajo comienza desarrollando la postura del filósofo Karl-Otto Apel, desde su propuesta pragmático-trascendental, frente al estructuralismo lingüístico de Saussure. A partir de aquí, se presentarán los conceptos de lenguaje y sujeto desde el psicoanálisis de Jacques Lacan, heredero y crítico del pensamiento saussureano, con el objetivo de realizar una confrontación entre ambas teorías, además del esclarecimiento inicial necesario para futuras discusiones. The following paper starts by developing philosopher Karl-Otto Apel’s transcendental-pragmatic position towards Saussure’s linguistic structuralism. At this point, from (...) Jacques Lacan’s psychoanalysis, heir and critic to the saussurean line of thought, concepts of language and subject will be presented. The main goal is to confront both theories and start initial clarifications necessary for further discussions. (shrink)

El siguiente trabajo se propone, en primer lugar, contraponer la lectura fi losófi ca de Ricoeur sobre la interpretación en psicoanálisis con algunos desarrollos clave de Freud y Lacan al respecto. Luego, se mostrará desde la obra del fi lósofo esloveno Slavoj Žižek cómo este concepto psicoanalítico puede ser utilizado dentro del marco de la crítica de las ideologías. De esta manera, se intentará determinar y fundamentar, al menos de manera aproximada, si la interpretación en psicoanálisis constituye una exégesis o (...) desciframiento del símbolo, o si la estructura del discurso analítico mismo exige otra concepción que no se agota en una hermenéutica. (shrink)

In the complete quotation of Verg. Aen. 4.415 in Auson. Epigr. 75.8 Green, the participle moritura, originally referring to Dido, takes on the obscene double entendre of “about to orgasm”, matching analogous attestations of this distinctive sense of the verb morior.

There have been many interpretations of Catullus’ poem 2 and especially of verses 5-8. The first part of this study presents the status quaestionis, listing the main interpretations and conjectures. In the second part two new interpretations of vv. 5-8 are advanced, without modifying the text of manuscripts OGR. According to the first, the words cum desiderio meo … lubet iocari are understood as a substantive clause dependent on the verb credo, which also governs et solaciolum as a predicative. Alternatively, (...) solaciolum may be taken as predicative of an understood object te referring to passer in the first verse. In either case, ut cum with the transmitted future acquiescet can have temporal force, as recently argued by Paul Claes 56. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“It’s not true, but I believe it”: Discussions on jettatura in Naples between the End of the Eighteenth and Beginning of the Nineteenth CenturiesFrancesco Paolo de CegliaIntroduction: What is Jettatura?Non èvero...ma ci credo (“It’s not true... but I believe it”) is the title of a comedy by the Italian actor and playwright, Peppino De Filippo, younger brother of the more famous Eduardo, which was staged for the first (...) time in 1942. The narrated events take place in the twentieth century and concern Gervasio Savastano, a Neapolitan businessman who is tormented by the fear of jettatura. The character, victim of grotesque events, first sacks a worker, believing him to be a jettatore, and then hires another, who is a hunchback and so should bring him good luck. In the end, however, it is discovered that the presumed jettatore has never harmed anyone and that the hunchback is not what he seems: he has stuffed his jacket in order to enter into the good graces of the gullible businessman and marry his daughter, with whom he has planned a con trick. The “lucky” events ascribed to his presence can therefore be considered casual. The epilogue? In keeping with the logic of compromise, typical of the brothers De Filippo’s theater, even though the character is rationally convinced of the unfounded nature of his beliefs, he remains adamant: “It’s not true, but I believe it” in other words.1 [End Page 75]“Where I come from, jettatura rules,” wrote the journalist and scriptwriter Giuseppe Marotta in 1947. Indeed, it is still a part of popular Neapolitan culture today.2 Often confused with similar beliefs, such as fascination (fascino) and the evil eye (malocchio), jettatura assumed its present form between the end of the eighteenth and beginning of the nineteenth century, at a time when a polite debate on its nature was taking shape in the city. In this period, the epistemological pluralism animating the discussions was translated into a variety of interpretative hypotheses and literary genres, in which grotesque atmospheres and spirited quips also found room, all perfectly in line with what could be considered the Weltanschauung of Savastano. It is the purpose of this article to examine these discussions, which even spread the term abroad and, with it, the “local color” of the concept.Nineteenth-century European writers on jettatura knew the Neapolitan authors well, and either quoted them explicitly or associated them with characters whose names were a deformation of real people’s: for example, Volitta for Valletta (Stendhal), don Jo (Stendhal) or Ojori (Dumas) for De Jorio. They explained that jettatura corresponded to the more familiar evil eye, but they left the term in Italian, as if to underline the fact that it was untranslatable.Is jettatura a mere anthropological issue, linked to a “primitive” culture, in the face of which official science would remain refractory? A belief that could not be exported or shared by those educated in more “highly developed” contexts? Well, in part, yes. Nevertheless, in the 1840s there was a visitor to Naples who expressed himself in the following terms: “When a foreigner arrives in Naples, at first he laughs at jettatura, then, little by little, he becomes troubled by it, and finally, after a stay of three months, you will see him covered in horns and with his right hand forever clenched [to ward off evil].”3 [End Page 76]So wrote the novelist Alexandre Dumas, père, one of the many travellers who, after having completed the Grand Tour of southern Italy, decided to describe its picturesque scenes and backward customs.4 Creating a veritable topos of travel literature, in the same period the philologist Karl August Mayer commented, “often foreigners let themselves be influenced” by local “superstitions.”5 Indeed many of them were captivated by these Neapolitan beliefs, despite their desire to remain objective and detached; and so they were “converted,” and driven to seek scientific explanations, often after meeting “a Real Jettatore,” whose image had nothing in common with the exotic fantasies of “a French Novelist’s Idea of Jettatore.”6Actually, Dumas and Mayer probably exaggerated somewhat in order to make their descriptions more... (shrink)