The concept of expression is closely related to the key-problem of mimesis and its dialectic between production and re-production. The Jeu de Peindre by Arno Stern offers a privileged vantage point in this regard by releasing painting from any communicative purpose and discovering in it a channel for the emergence of organic memory. However, there is a singular removal of this experience from scientific studies, including those of aesthetics. The aim of this paper is to begin to remedy this lack with an initial investigation into the Formulation. More specifically, after a methodological premise, the article analyzes its conditions of possibility within the Closlieu – the particular space- time developed by the French pioneer – and deepens its fundamental characteristics, tracing similarities and differences with other expressive forms and letting its distinctive feature appear: the Plusêtre.
This article explores the early intellectual trajectories of Carl Schmitt and Erik Peterson, situating their ideas within the romantic and manichean milieu of Germany during the interwar and postwar periods. Both thinkers critique positivism and the bourgeois society of their era, offering distinct responses to the prevailing crisis: Schmitt through his political theology, and Peterson through his theological eschatology.
This contribution aims to highlight how a reductionist approach in the field of philosophy of mind fails to grasp many central connotations that adapt to the dimensions of human conscious experience. In this framework, the hypothesis discussed is that phenomenology of Husserl and Merleau-Ponty offers, unlike other philosophical traditions, conceptual coordinates capable of interpreting and broadening the horizons of empirical research in the direction of an approach integrated that restores priority to the qualitative dimension of conscious experience and language. Edelman’s theory of selection of neuronal groups as well as the embodied approach therefore suggest the start of a complex research path capable of orienting cognitive investigations beyond classical opposition between subject and the world. In this perspective, the concepts of structure and form are assumed as tools to investigate the intrinsically relational and precategorial dimension of conscious experience.
The paper explores how, for Dostoevsky, the problem of humanity is intricately connected to the problem of God. The analysis of three masks of nihilism (Ivan, the Grand Inquisitor, Verkhovensky) demonstrates that the problem of evil is inherent in the rejection of any illusion that equates freedom with happiness. These masks are hallucinatory, anamorphic, and distorting; each of them tends to deny the existence of God to reject the reality of freedom and evil. Their plan entails totalitarian domination over an enslaved population, where the non-existence of God implies the absence of mankind. The ultimate paradox lies in the endeavor to create a new man devoid of humanity.
As is well known, the Hegelian concept of self-consciousness is the device by which the world is no longer, in the gnoseological sense, an object of knowledge, but of recognition. The subject recognizes itself in the world in historical forms (the ‘figures’ of consciousness), and precisely in a processuality that does not suffer interruptions, on pain of falling back into a Kantian-style intellectualistic logic. The thesis of the essay is that the continuity of the process draws constant nourishment from the ‘mnestic trace’ imprinted in European consciousness by the experience of the French Revolution. The ‘recollection’ of the Revolution thus resurfaces in all the social and political crises that mark the becoming of Western history. The internalization of this recollection: not its removal, but its constant reactualization, properly constitutes the work of self-consciousness; it allows crises to be recognized and reconverted in the perseverance of the process. Such perseverance, however, does not represent a factor of staticity, but ensures the constant production of the New.
In Plato’s Sophist, the Stranger proposes a division more geometrico by cutting the productive art widthwise and lengthwise (265e8-266d7). In this paper, I shall reconstruct the often-neglected mathematical background of this complex διαίρεσις. By laying emphasis on its two-dimensional, quadratic structure, I shall argue that this division is not – strictly speaking – dichotomous but represents some sort of deviation from the bifurcation pattern widely employed and recommended elsewhere. Besides exploring the advantages of choosing an alternative pattern of division from a methodological point of view, I shall assess the role of the quadratic division within the broader context of the final division and definition of the sophist.
The aim of this paper is to analyze the relevance of the etymologies of Athena’s epithets as described by Plato in his Cratylus. The etymological study of the goddess’ names shows Athena’s characteristics, which seem to refer back to some of the fundamental issues of Plato’s philosophy. More precisely, Pallas Athena could be conceived of as she who dances fully-armed with a harmonic motion tending upward, as well as the one who thinks divine things: these attributes allegedly refer to the nature of individual rational souls as described, for example, in Plato’s Timaeus. Through appropriate textual comparisons between these dialogues, the paper will try to show how seriously Plato intended to present the section of the Cratylus devoted to the etymologies of the divine names and how this kind of study served as a preparatory investigation for more complex philosophical issues, to be considered, at a later stage, with more suitable instruments, namely dialectics and knowledge of ideas.
This paper contributes to the debate on the origins of the doctrine of the analogy of being. The author argues that it was Alexander of Aphrodisias who started the process that was ultimately to lead, with Thomas Aquinas, to the complete formulation of the doctrine of the analogy of being. Alexander’s decisive contribution appears to lie not in the overlap between the unity by analogy in Metaph. Δ 6 and the πρὸς ἕν of Metaph. Γ 2, as recently claimed by K.L. Flannery, but in the commentator’s having placed being as an intermediate between homonymous and synonymous. Alexander’s distinction between the three terms seems to mark a turning point in the way Aristotle’s passage has been interpreted. By going beyond Aristotle, and placing being in an intermediate position, Alexander seems to pave the way towards the doctrine of the analogia entis, grasping the feasibility of it stemming from Aristotle’s own text.
This paper aims to provide an analysis of Gianfrancesco Pico della Mirandola’s position in the context of the early 16th century debate on the immortality of the human soul. Questioning Charles B. Schmitt’s hypothesis regarding the period in which Pico’s Digressio de animae immortalitate would have been written, it will be shown that this work contains some remarks which can be traced back to an opposition of their author against Pietro Pomponazzi’s conclusion that, from a philosophical standpoint, the assertion of the mortality of the human soul is more plausible that its opposite. Furthermore, this paper examines the contents and the sources of Pico’s Digressio, in order to stress the evolution that Pico’s thought has gone through regarding this controversial problem, especially as for the role of the imaginative faculty of the soul in allowing the abstractive operation of the intellect.
Although Descartes, in his epistolary correspondence with Mersenne in 1630, stated that he wanted to address many questions of metaphysics in his treatise on physics – probably referring to Le monde –, in the latter work, he explicitly renounces any engagement in metaphysical considerations. Nevertheless, it is a matter of understanding that such silence is a symptom of a speculative knot that essentially characterizes Cartesian philosophy. Indeed, a comparison between the epistles addressed to Mersenne in 1630 and Le monde could indicate how Descartes, for a long time, had oscillated between two opposing views of conceiving divine infinity, reconciled perhaps – but only partially – afterwards, in the Meditationes. Thus, by analyzing the Cartesian theory of the divine creation of the laws of nature and eternal truths, presented to Mersenne and then modified in Le monde, one could reconstruct the genesis of the Cartesian concept of God as infinite and creator, noting consequently its paradoxes.
This paper aims to highlight Johann Georg Sulzer’s influence on the Kantian conception of unconscious representations. The Kant-Forschung, so far, has focused on Baumgarten and Meier as Kant’s main references on the issue. Through a careful analysis of the development of Sulzer’s position and his critique of earlier analyses of the fundus animae, we want to show the way in which that critique was important for Kant, especially in relation to overcoming the theories of Baumgarten and Meier themselves.
This essay proposes an in-depth analysis into the doctrine of univocality being proposed by Gilles Deleuze. By considering the connection between the rejection of Hegel’s dialectics and Nietzsche’s eternal return, the essay affirms that it is necessary to take that relationship into account in order to understand the internal structure of the doctrine of univocality. Following this approach, univocity of being corresponds to the absolute equality of differences: there are no distinctions that refer to being, but it’s being that originally manifests itself in distinctions. Thereby, univocity does not mean indistinctness, on the contrary it shows the disjunction and divergence of the infinite forms that manifest the variety of reality.
This contribution offers a historical-philosophical reflection on Alberto Jori’s new edition of Roberto Ardigò’s Discourse on Pietro Pomponazzi. The objective is to highlight the aspects of Pomponazzi’s thought that make Ardigò’s work indispensable for scholars interested in Mantua’s thinker. Ardigò’s approach is not merely ideologically oriented, as one might expect from a positivistic work, but rather a thoughtful and analytical examination of Pomponazzian thought.
On the occasion of the first monograph entirely dedicated to Jean Hyppolite by Roberto Morani, the contribution retraces some significant stages of Hyppolite’s interpretation of Hegel. After outlining the modest reception of Hegel in France in the early 1900s, the contribution highlights the continuity and ruptures of four decades of Hyppolite’s confrontation with Hegel. An interpretation emerges that is still partly valid, both from a methodological perspective and in relation to the individual theses argued. In particular, Hyppolite’s exegetical work remains a valuable example of philosophical inquiry that seeks to combine historical investigation of texts with the question of their theoretical relevance, understood as their capacity to respond to the demands of the present.
The purpose of the article is a critical analysis of Evandro Agazzi’s book, which illustrates his anthropological-philosophical perspective. The volume is marked by eclecticism, erudition and the breadth of interests and knowledge: the numerous issues covered include, ultimately, all the typical expressions of human experience in its historical journey as well as the challenges it faces today.
A. Ales Bello - A.M. Sciacca, Ti racconto l’aldilà (C. Carbone) – G.P. Basile - A. Lyssy (eds.), Perspectives on Kant’s Opus Postumum (L. Spagnesi) – F. De Carolis, Un’ermeneutica del soggetto vivente (P. Giustiniani) – E. Dezza - A. Nannini - D. Riserbato, Intorno al futuro (M. Serafini) – G.E. Moore, Principia Ethica (M. Micheletti) – L. Paravan, Due culture? (E. Trevisan) – P. Ponzio, Xavier Zubiri (P. Colonnello) – F.W.J. Schelling, Sistema dell’intera filosofia e della filosofia della natura in particolare (T. Mauri) – D. Simoncelli, Desiderare l’infinito (V. Pellegrino) – J. Van der Wielen, Empirisme transcendantal et subjectivité (A.F. de Donato)
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