Aisthema (E-Journal, Pontificia Facoltà Teologica dell'Italia Meridionale)
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Il fiume nero che nutre tutti: Un testo letterario che amplia la filosofia di Michel Henry
No full textL’Amour les yeux fermés, a novel that merited a very important literary French price for his author, Michel Henry, gets to points and difficulties that perhaps only poetry can reach. Beyond the philosophical texts, narrative explores indi- viduality, catastrophical evil, communication enigmas, the meaning of beauty (both artistical and embodied in human persons); and this other form of ex- pression succeeds in making sensible, audible, the tongue of the black river of Divine Life inside every being.L’Amour les yeux fermés, un romanzo grazie al quale Michel Henry ottenne un importantissimo premio letterario francese, avvicina punti e difficoltà che forse solo il testo poetico può raggiungere. Di là dai testi filosofici, la narrativa esplora l’individualità, il male catastrofico, gli enigmi della comunicazione, il senso della bellezza (sia essa artistica o incarnata nella persona umana); questa forma di espressione altra riesce a rendere sensibile, ascoltabile, il linguaggio del fiume nero della Vita Divina presente in ogni essere
Immanenz als Präsenz originärer Selbstgebung des Lebens
No full textDer entscheidende Punkt einer Untersuchung zum Leben als "Phänomen" eigener Art, gipfelt nach Henry letztlich in der Frage, ob es eine material-phänomenologische Weise der Präsenz gibt, die ebenso eindeutig wie unmittelbar ist. Präsenz bloß als Gegenwart in einem Da-sein zu denken, erweist sich dem Wesen der Präsenz gegenüber, sofern sie rein phänomenologisches Leben ist, als unangemessen. In dieser Studie schlagen wir daher vor zu überprüfen, inwiefern Immanenz nichts anderes darstellt als das Vorhandensein der ursprünglichen Selbstgebung des Lebens.According to Henry, the decisive point of an investigation of Life as a "phenomenon" ultimately culminates in the question of whether there is a material-phenomenological mode of presence that is unambiguous as well immediate. To consider the presence merely as a presence in a Da-sein, proves to be inappropriate in relation to the essence of presence, insofar as it is Life, purely phenomenological. In this essay, we aim to examine how immanence is nothing other than the existence of the original self-giving of life.According to Henry, the crucial point of an investigation into life as a "phenomenon" of its own kind ultimately culminates in the question of whether there is a material-phenomenological way of presence that is as unambiguous as it is immediate. To think of presence merely as presence in a being-there, whether intuitive, conceptual, temporal or existential, proves inadequate to the essence of presence, insofar as it is purely phenomenological life. For in all the forms of consciousness alluded to, presence would divest itself of the world, would become an appearing whose self-appearance itself as the "essence of manifestation" is then lost, as it mostly was in the philosophical tradition. Nowhere is this clearer than in the first climax of phenomenology: - in Hegel. Consequently, in this work we firstly want to consider the concepts of absolute knowledge and singular self in Hegel and in phenomenology; we then want to deal with the passivity and self-affection in the silence of life, concluding with some reflections on immanence as a renewed phenomenological determination
A Free-Expression Painting Studio with University Students: Aesthetic Reflection from Michel Henry
No full textThe present study intends to present a reflection on the aesthetics in the work of Michel Henry, based on the experience of a Free-Expression Painting Studio with university students who had suicidal ideations or attempts. The Studio took place online, between September 2020 and September 2021. The case of one of the participants who was present in 8 sessions will be presented. Henry’s reflections in the aesthetic field help us to understand how the therapeutic process in the Studio does not operate at the level of deductive thinking, but at the level of affective transformation that, through our actions, originally implies us in it. What the Painting Studio mobilizes is the affective dialectical relationship, through which one can move from despair to the original pleasure. There is a common background between patient and therapist, which is the feeling of the power of transitivity in the life of suffering in pleasure – a feeling that is to be, in one’s own life, every possibility of transformation. The therapeutic relationship opens the possibility to find mobilization for painful affections in the community
Nota introduttiva
No full textNota introduttiva ai Tre Saggi di Michel Henry che seguono, inediti in italian
F. RAFFOUL – E. S. NELSON, The Bloomsbury Companion to Heidegger, Bloomsbury, London 2013, pp. 520, ISBN: 9781441199850
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In Cristo Gesù un umanesimo sempre nuovo.: Una riflessione sull’orizzonte tematico del V Convegno ecclesiale nazionale
Full text linkIn november 2015 the Fifth National Ecclesial Convention will take place in Florence with the title The new humanism in Jesus Christ. In preparation for this event, the Italian Episcopal Conference has published an Invitation and a Sketch of a path towards the Con- vention. In this reflection, the Author describes the thematic horizon of these contribu-tions, speaking of a humanism gained from the lived humanity of Jesus of Nazareth which is made concrete in its openness to God the Father and to its brothers, in prayer and in concern for others.Nel novembre 2015 si terrà a Firenze il V Convegno ecclesiale nazionale, il cui titolo è In Gesù Cristo il nuovo umanesimo. In preparazione all’evento, la Conferenza EpiscopaleItaliana ha pubblicato un Invito e una Traccia per il cammino verso il Convegno. In que- sta sua riflessione, l’Autore delinea l’orizzonte tematico di questi interventi, parlando di un umanesimo ricavato dal vissuto umano di Gesù di Nazareth, che si concretizza nell’apertura a Dio Padre e ai fratelli, nella preghiera e nel prendersi cura degli altri
Secularised Society: Conscience and Forgiveness
Full text linkThis paper‘s goal is to investigate secularized society by retracing its structure. What is hidden behind the notion of secularization? Our intention here is to analyse the social phenomenon of secularisation through the study of its ontology. The research will be on the identity issue, in the first place the living identity to see its resonance in social, cultural, religious and political areas. We will then arrive at the end of this paper, at the thesis – starting from the consciousness of self and the world – of a return to the authentic form of living together in reciprocal welcome as reason of personal enrichment. In such dynamics the forgiveness issue – taking into account Occidental history – will have a central, and, at the same time, redeeming role.Cette étude se propose d’étudier la société sécularisée, en retraçant sa structure. Qu’est-ce qui se cache derrière la notion de sécularisation? Ici nous entendons analyser le phénomène de la sécularisation sociale par l’intermédiaire de l’étude de son ontologie. La recherche portera sur la question de l’identité, en premier lieu sur l’identité vivante, pour voir ses résonances dans les domaines social, culturel, religieux et politique. Ainsi, nous arriverons à la thèse – à partir de la conscience du soi et du monde – pour un retour à une forme authentique du vivre ensemble dans un accueil réciproque en tant que raison d’enrichissement personnel. Dans cette dynamique la question du pardon – en tenant compte de l’histoire Occidental – aura un rôle centrale, et, en même temps, rédempteur
Il genio e il paradosso del self-styling
Full text linkThis is the italian translation – realised thanks to the availability and courtesy of prof. Shusterman - of the chapter 10 of this text Performing live. Aesthetic Alternatives For The Ends of Art, published in 2000 by the Cornell University Press. In this text, as Shusterman himself emphasizes in the preface, he proposes to highlight the value of aesthetic experience exploring roles, methods and meanings also in those areas marginalized by traditional philosophical currents. The focus, as always in the works of Shusterman, is therefore placed in the living arts, all integrated – and this is the essay underlines it right from the beginning – in what is the most precious of all the arts, the art of living well.Il saggio che segue, tradotto – grazie alla disponibilità e alla cortesia del prof. Shusterman – costituisce il capitolo 10 del suo testo Performing Live. Aesthetic Alternatives for the Ends of Art, pubblicato nel 2000 per i tipi della Cornell University Press. In questo testo, come lo stesso Shusterman sottolinea nella prefazione, egli si propone di evidenziare il valore dell’esperienza estetica esplorandone ruoli, metodi e significati anche in quelle aree marginalizzate dalle correnti filosofiche tradizionali. Il focus, come sempre nelle opere di Shusterman, è quindi posto nelle arti viventi, tutte integrate – e questo il saggio lo sottolinea fin dalle prime battute – in quella che è la più preziosa di tutte le arti, l’arte di vivere bene
La democrazia è una questione di stile (?): J. Rancière e la politica della letteratura di G. Flaubert
Full text linkThis essay offers an analysis of J. Rancière’s “politics of literature” through the style of G. Flaubert’s realist novel. Literature as a “new regime of the art of writing” is characterized by its distancing from the rules of the representative regime of Aristotelian origin, based on the hierarchy of themes and subjects of art. Literature, and in particular the realist style, suspends all forms of hierarchy and raises the anyone and the anonymous to the dignity of artistic subjects, thus defining one’s own democratic politics.Il saggio propone un’analisi della “politica della letteratura” di J. Rancière attraverso lo stile del romanzo realista di G. Flaubert. La letteratura come “nuovo regime dell’arte dello scrivere” si caratterizza per la presa di distanza dalle regole del regime rappresentativo di matrice aristotelica fondato sulla gerarchia dei temi e dei soggetti d’arte. La letteratura e in particolare lo stile realista sospende ogni forma di gerarchia e innalza alla dignità di soggetti artistici il qualunque e l’anonimo definendo in tal modo la propria politica democratica
