This essay discusses the apparent inconsistencies in the cultural anthropologists? understanding of the two categories, ?marginality? and ?liminality,? which far from being antithetical to each other always entail each other. More precisely, I argue that the notion of marginality and liminality, which can be summed up as a perspective on the world, allows and develops a new way of thinking about education, politics, literature and, above all, the institutions of learning such as the modern university. Literary and philosophical texts, from (...) Plato to Boccaccio, from Bacon to Vico, which take us to the ?frontiers of thought,? to the most profoundly critical and creative questioning of our knowledge and values, propose a paradigm of marginality and liminality as the horizon within which our knowledge can be steadily reconfigured, rethought, and thus opened up to the future. (shrink)

Los encuentros de los europeos con los indios de América plantearon, a través de las crónicas de viajes, la revocación de tradicionales hipótesis filosóficas sobre los primitivos y los gigantes y la emergencia de la cuestión sobre la noción de "diferencia" entre culturas, así como la necesidad de unos nuevos principios de la historia. Reflexiones todas ellas precisas sobre el problema de la experiencia y su sentido en la Scienza nuova , donde las dos ciencias de lo antiguo y de (...) lo moderno anudan las cuestiones de la experiencia y de su inteligibilidad. Los principios de la ciencia viquiana toman impulso de la etnografía amerindia, p.e. de Oviedo y de Acosta, y también de la Escolástica Española .When the Europeans met the American Indians, the travel chronicles gave rise firstly to a rejection of the traditional philosophical hypothesis which hitherto have been held on the primitives and the giants and secondly to the question related with the notion of "differences" between cultures and the want to defining new principles for historical inquiries. Those were reflections connected with the problem of experience and its meaning within the New Science in which both sciences, the ancient and the modern, bond together questions related with experience and its own rationality. The principles of the Vichian science may be traced back to the American-indian ethnography, from Oviedo or from Acosta, for example, or even from Spanish Scholastic movement. (shrink)

Raises the radical question of how Dante’s understanding of poetry shaped his theology, his ethics, and, more generally his sense of the organization of knowledge or encyclopedia.

Several widely publicized incidents of academic research misconduct, combined with the politicization of the role of science in public health and policy discourse (e.g., COVID, immunizations) threaten to undermine faith in the integrity of empirical research. Researchers often maintain that peer-review and study replication allow the field to self-police and self-correct; however, stark disparities between official reports of academic research misconduct and self-reports of academic researchers, specifically with regard to data fabrication, belie this argument. Further, systemic imperatives in academic settings (...) often incentivize institutional responses that focus on minimizing reputational harm rather than the impact of fabricated data on the integrity of extant and future research. (shrink)

Background: Moral distress, defined as moral suffering or a psychological imbalance, can affect nursing students. However, many new instruments or adaptations of other scales that are typically used to measure moral distress have not been used for nursing students. Aim: This study aimed to translate, culturally adapt and evaluate the psychometric properties of an Italian version of the Moral Distress Scale for Nursing Students for use with delayed nursing students. Research design: The study used a cross-sectional research design. Participants and (...) research context: Incidental sampling resulted in a sample of 282 delayed nursing students enrolled between May and August 2020 in a University of central Italy. Ethical considerations: The research protocol was approved by the internal review board of the university, and all participants provided their written informed consent. Results: The study confirmed a multidimensional second-order factorial structure for the It-ESMEE with five dimensions: improper institutional conditions to teach user care, authoritarian teaching practices, disrespect for the ethical dimension of vocational training, lack of competence of the teacher and commitment of ethical dimension of user care. The internal consistency was high, and the standard error of measurement and smallest detectable change were adequate. Discussion: The It-ESMEE is able to assess moral distress in delayed nursing students with good validity and reliability. It can be used in research and to determine moral distress levels, helping teachers to monitor the condition in nursing students. Conclusion: This instrument can help in comprehending moral distress, enabling students to develop coping and intervention strategies to maintain their well-being, and to ensure the quality of nurse education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 471-475 [Access article in PDF] Cosmopoiesis. The Renaissance Experiment, by Giuseppe Mazzotta; xvi & 106 pp. Toronto Italian Studies/Goggio Publication Series. Toronto: Toronto University Press, 2001; $35.00 cloth, $16.95 paper. There is a sense in which this (most recent) book by Giuseppe Mazzotta might be seen as having been born out of his previous book The New Map of the World: The (...) Poetic Philosophy of Giambattista Vico (Princeton University Press, 2000). For there is something unmistakably Vichian in Mazzotta's "reading" of the Renaissance as it has been revealed in his Cosmopoiesis. As a matter of fact, it is in the "Preface" to his book that Mazzotta explicitly gives a number of reason why Giambattista Vico's philosophy of history could be taken as a valuable and quite promising starting point for a better understanding of "the Renaissance experiment": "The first is that he theorized art as poiesis or making and as the work of the imagination. The second reason is that he lucidly understood the Renaissance as the ambiguous time of both extraordinary achievements and inexorable decadence. The third reason is that Vico obliquely suggests how we can move beyond the limits in our current understanding of the Renaissance" (pp. xv-xvi). Mazzotta is deeply sympathetic with this cluster of Vichian insights, which insights will constitute, so to speak, the primum movens behind his own interpretative approach to the Renaissance world, and he takes as his major task in Cosmopoiesis to creatively develop and boldly expand them.The book is actually a collection of four ample essays (resulting—largely—from the Goggio Lectures the author delivered at the University of Toronto in the fall of 1999): "Poliziano's Orfeo: The World as Fable"; "Ariosto and Machiavelli: Real Worlds/Imaginary Worlds"; "Adventures of Utopia: Campanella, Bacon, and The Tempest"; and "The Ludic Perspective: Don Quixote and the Italian Renaissance." All of these essays are "variations on the same theme," attempts at putting under a careful scrutiny one of the most fascinating aspects of the European Renaissance: the topic of "the invention of the world and the notion of making through utopias, magic, science, art, and the theatre. These are the imaginative elements that characterize the paradigm shift from the Middle Ages to the modern ages ushered in by the Renaissance" (p. xiii). [End Page 471]As such, the Renaissance marks, in Mazzotta's view, the spectacular emergence of the myth of world-making (cosmopoiesis), a myth with a tremendously wide success, a myth that was eventually to become one of the very foundations on which our own world is built. When Dr. Faust, in his quite unorthodox work as a translator, was looking for an "appropriate" equivalent of Logos, as it appears in St. John's Gospel, he unreservedly dismissed the Word (das Wort), only to embrace the deed: Am Anfang war die Tat ("In the beginning there was the deed"). Making, in the most general sense of the word (and along with the numerous symbols, representations, and values associated with it), is not for the modern man a cultural trait among others, but it is, so to say, a matter of life and death, a question of self-definition andultimate identity. For making is not only about the world one lives in (world-making), about conferring upon it a new content, or a new meaning, appearance, etc., but—maybe more importantly—making is also about the very identity of the one who lives in that world (self-making), about her or his most intimate constitution. Mazzotta considers that in order for a historian to understand exactly man's position in the world at a given moment in history s/he has to take seriously into account the deeper, sometimes obscure, theological and metaphysical presuppositions hidden behind—and, actually, making possible—the current, immediately visible cultural representations: "The modern world is no longer, as it was in the Middle Ages, a book that pre-exists us and whose signs we seek to decipher in the light of precepts drawn from biblical hermeneutics. The modern world [...] is made by human... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante’s Vision and the Circle of KnowledgeAnthony RodaDante’s Vision and the Circle of Knowledge, by Giuseppe Mazzotta; 328 pp. Princeton: Princeton University Press, 1993, $37.50.Future students of Dante, The Divine Comedy, literature, criticism, the history of ideas, theology, philosophy, and many other disciplines will be in permanent debt to Giuseppe Mazzotta for his keen study of Dante’s Vision and the Circle of Knowledge. While tracing the (...) principal streams of Western thought which irrigate Dante’s fertile genius, Mazzotta reconstructs the intellectual topography of Dante’s Europe and show how “l’altissimo poeta” reorders and refines it and arrives at a radical reformulation of the foundation of knowledge in contrast to the standard philosophical and theological currents of the times. This new vision of the foundation of knowledge is the central concern of The Divine Comedy which for Mazzotta provides a world view no less monumental than the synthesis of the classical and Judeo-Christian traditions of Thomas Aquinas. Perhaps, more so, for he argues Dante’s great epic provides not only an alternative epistemology but one which captures much more adequately the human historical experience.Vico’s insights, a thorough familiarity of Dante’s sources and his alert appreciation of the unique treatment these sources receive in the context of “la commedia divina” supply Mazzotta with a theoretical framework for his own brilliant critical, historical, and etymological analyses. He marshals these researches around his overriding concern to show that inherent within the Comedy is the view of “poetry as nothing less than the foundation of all possible knowledge” (p. 3). Dante’s radical claim is designed to provide an account which accords with the educational and intellectual development of the individual within history. Consequently for Mazzotta, Dante’s poetic (metaphorical) mode attempts to reconcile what must have been an intellectual and moral landscape of hopeless contradictory systems and projects. Dante’s poem [End Page 194] provides a vivid survey of the breakdown of human bonds, human projects, and human justice and suggests a corrective that escaped the methods of reason, as well as those of the mystic’s. Since both of these are at bottom antihistorical, they attempted to deny conflict and uncertainty (Dewey’s ultimate traits of experience).The above comments should suggest both the general appeal as well as, and I must emphasize, the high level of scholarship Mazzotta exhibits in his project which is arranged into three parts. The first part (Chapter 1–5) is devoted to “poetry and the arts of language,” and a quick glance at these chapters reveals that it is concerned with that part of the liberal arts called the trivium (grammar, rhetoric, and dialectic). In addition to their educational role, the author examines the role and intricate connections these disciplines have to the central social structures of the times. Consequently, these are not mere sterile academic exercises but serious attempts that show the intimate connections between methods of knowing (discourses) and social structures, especially authority in all of its modes (moral, intellectual, political, etc.). Further, by virtue of this, he shows the need for a reexamination of knowledge which does justice to the lived experiences of the individual and to which the second part (Chapters 6–8) is devoted. Briefly, this means coming to terms with language, memory, imagination, dreams and visions, and that great nightmare, human history. It also invokes the aesthetic (poetic/metaphorical) foundations of all knowledge in contrast to the Cartesian dismissal. The claim, however, enlightening for the Comedy, is controversial as a general tenet and demands will be forthcoming for an evaluation, even though there is much good work in philosophy which lends support to it, e.g., Stephen Pepper’s World Hypotheses, R. G. Collingwood’s The Principles of Art, and Lewis E. Hahn’s A Contextualistic Theory of Perception, etc.In the last part (Chapters 9–11) Mazzotta argues that Dante’s final organizing vision figures the world sub specie ludi. These chapters examine the problems and experiences of order, transgression and exile which for Mazzotta demand a Theologia Ludens whose roots are imbedded deep in Aristotle’s Ethics and expressed by the virtue of eutrapelia, “a... (shrink)