Aisthema (E-Journal, Pontificia Facoltà Teologica dell'Italia Meridionale)
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Carmen contra Wagner: Lo spirito mediterraneo di Nietzsche come antidoto alla malattia wagneriana
Full text linkThe text proposes a reading of Nietzsche’s discovery of Bizet’s Carmen through a comparison with his interpretation of Wagner’s dramas. From this emerges a look on some elements of modernity, such as, in particular art and bourgeois opera and common morality, in a critical confrontation with the Dionysian spirit of Greek tragedy.Il testo propone una lettura della scoperta nietzscheana della Carmen di Georges Bizet attraverso un confronto con la sua interpretazione dei drammi wagneriani. Da ciò emerge uno sguardo su alcuni elementi della modernità, quali, in particolare l’arte e l’opera borghese e la morale comune, in un confronto critico con lo spirito dionisiaco della tragedia greca
Tattoos, piercings and re-configuration of the body: A path between bioethical and educational profiles
Full text linkEverything can become a mask if we use it for masquerading. The tattoo is the anthropological roots of ancient and modern makeup that refers to the mask understood as that which creates the face, which gives it its social being. The tattoo is also an artistic decoration that should be born by the deep desire to communicate yourself to others. Tattoos must be able to "tell" the people who wear them, but if the latter decorate their body with a message or image that does not belong, it can cause the destruction of individuality. The tattoo is immortal. It can be a permanent dress, a way to resist the unwanted transformations using a piece of subjective identity, non-imitable, from which one cannot be excluded. Along with careful identification of psycho-sociological motivations that drive a young man to want a tattoo, you need to traverse an education that not only form a personality, teaches the knowledge of his own body. Getting a tattoo means not only change the morphology of the body but the risk of jeopardizing their health. Responsibility for their own health also means being aware that a tattoo can procure mild side effects or more severe depending on the initial state of health of the subject. Then a tattoo only after a careful history following the favorable opinion of the doctor and after a personal assessment aware. These initial objectives of a path bioethical-pedagogical significant.Tatouages et piercings peuvent devenir une masque pour y se cacher derrière? A bien voir, tout peut devenir une masque si nous l'utilisons pour le masquage. Le tatouage est la racin anthropologique de maquillage ancienne et moderne qui se réfère à la forme, compris celui qui crée le visage, ce qui lui donne son être social. Le tatouage est aussi une décoration artistique qui devrait être né par le désir profond de se communiquer aux autres. Tatouages doivent exister en mesure de "communiquer" autrui les gens qui les portent; mais si l’on décore son corps avec un message ou une image qui ne lui appartient pas, en peut entraîner la destruction de l'individualité. Le tatouage est immortel. Il peut être une robe permanente, une façon de s'opposer aux transformations involontaires, en utilisant une pièce d'identité subjective, pas imitable, dont on ne peut être exclue. Après avoir identifié précisement des motivations psycho-sociologiques qui conduisent un jeune homme à vouloir un tatouage, on doit tirer un enseignement qui, au dela de la formation d'une personnalité, apprend les moyens pour connaître son propre corps. Dans la perpective de la bioéthique, faire un tatouage ne signifie pas seulement changer la morphologie de son corps, mais le risque de mettre en péril sa santé . Prendre en charge sa santé signifique être conscient que le tatouage peut avoir des effets secondaires bénins ou plus graves, en fonction de l'état initial de la santé du sujet. On doit pratiquer un tatouage seulement après une anamnèse à l'avis favorable du médecin et après une évaluation personnelle de l’état courant. Ces son les objectifs initiaux d'un cours d'enseignement de la bioéthique qui ait l’ambition d’être significatif.Everything can become a mask if we use it for masquerading. The tattoo is the anthropological roots of ancient and modern makeup that refers to the mask understood as that which creates the face, which gives it its social being. The tattoo is also an artistic decoration that should be born by the deep desire to communicate yourself to others. Tattoos must be able to "tell" the people who wear them, but if the latter decorate their body with a message or image that does not belong, it can cause the destruction of individuality. The tattoo is immortal. It can be a permanent dress, a way to resist the unwanted transformations using a piece of subjective identity, non-imitable, from which one cannot be excluded. Along with careful identification of psycho-sociological motivations that drive a young man to want a tattoo, you need to traverse an education that not only form a personality, teaches the knowledge of his own body. Getting a tattoo means not only change the morphology of the body but the risk of jeopardizing their health. Responsibility for their own health also means being aware that a tattoo can procure mild side effects or more severe depending on the initial state of health of the subject. Then a tattoo only after a careful history following the favorable opinion of the doctor and after a personal assessment aware. These initial objectives of a path bioethical-pedagogical significant
Il Vangelo secondo Walt Whitman
Full text linkItalian translationTraduction italienneTraduzione italian
What can Hume Teach Us about Film Evaluation?
Full text linkThis article identifies three distinct temporal notions in Hume’s essays on aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the viewer. It applies these notions to film evaluation and enjoyment, between which Hume implicitly distinguishes. The article extends the author’s earlier theory of positive, negative, and counter-purposive forms of film dating, which are associated with nostalgia, boredom, and comic amusement, respectively. It discusses Hume’s “Of the Standard of Taste” (1757), “Of Simplicity and Refinement in Writing” (1742), and “Of Eloquence” (1742). Although the article does not offer close readings of films, it uses as illustrations Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu.Cet article identifie trois notions temporelles dans les essais esthétiques de David Hume: l’epreuve du temps (the test of time), l’observation répétitive de l’œuvre et le vieillissement (aging) du spectateur. Ces trois notions sont utilisez en discutant l’évaluation et le plaisir (enjoyment) de l’œuvre, deux concepts distinguées implicitement par Hume. L’article étend ma théorie de la vieillesse (dating) positive, négative et contre-téléologique, trois formes associées à la nostalgie, l’ennui, et l’amusement comique. Dans l’article je prends en consideration le textes de Hume “Of the Standard of Taste” (1757), “Of Simplicity and Refinement in Writing” (1742), and “Of Eloquence” (1742), en discutant comme exemples les films suivants: Zelig (Allen), La Notte (Antonioni), The Terminator (Cameron), Star Wars (Lucas), Taxi Driver (Scorsese), E.T.: The Extra-Terrestrial (Spielberg), et La Règle du Jeu (Renoir).This article identifies three distinct temporal notions in Hume’s essays on aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the viewer. It applies these notions to film evaluation and enjoyment, between which Hume implicitly distinguishes. The article extends the author’s earlier theory of positive, negative, and counter-purposive forms of film dating, which are associated with nostalgia, boredom, and comic amusement, respectively. It discusses Hume’s “Of the Standard of Taste” (1757), “Of Simplicity and Refinement in Writing” (1742), and “Of Eloquence” (1742). Although the article does not offer close readings of films, it uses as illustrations Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu
J. Y. BEZIAU - G. PAYETTE (EDS.), The Square of Opposition: A General Framework for Cognition, Peter Lang, Berna 2012, pp. 503, ISBN 9783034305372 [con DVD allegato].
Full text linkBook ReviewRecension
«Speciosus forma es prae filiis hominum» (Sal 45,3) La bellezza del Messia
Full text linkSeminario di studio: Pulchritudinum pulchritudoSeminario di studio: Pulchritudinum pulchritud
Michel Henry, Arte e fenomenologia della Vita: Nota introduttiva di Gaetano Iaia, traduzione di Andrea Bocchetti
No full textTraduzione italiana, nota introduttiva di Gaetano Iaia, traduzione di Andrea BocchettiTraduzione italiana, nota introduttiva di Gaetano Iaia, traduzione di Andrea Bocchett
Thales of Miletus and the semantic possibilities of his view of the soul
Full text linkIn this paper, a thesis about the soul attributed, according to Diogenes Laërtius, to Thales of Miletus by Aristotle and Hippias is reviewed both by means of the machinery provided by standard logical calculus and from the semantic framework of the mental models theory. The conclusions are that, while it is very hard to capture the sense of that thesis using the logical forms of standard calculus, the mental models theory can easily show its exact meaning and the particular semantic possibilities to which it refers. In the same way, a possible objection against the arguments proposed in this direction is responded.In this paper, a thesis about the soul attributed, according to Diogenes Laërtius, to Thales of Miletus by Aristotle and Hippias is reviewed both by means of the machinery provided by standard logical calculus and from the semantic framework of the mental models theory. The conclusions are that, while it is very hard to capture the sense of that thesis using the logical forms of standard calculus, the mental models theory can easily show its exact meaning and the particular semantic possibilities to which it refers. In the same way, a possible objection against the arguments proposed in this direction is responded
Aesthetics and its “End”
Full text linkThe Author intends to show how the notion of “aura” which may be equated to “wonder-awe”, commonly regarded as the “origin of philosophy”, is what intimately connects the birth of aesthetics to that of philosophy, in Greece. The Author then examines key points in the development of “aesthetics” as a discipline by considering some of the most influential philosophers, both ancient (Plato, Aristotle, and Plotinus) and modern/contemporary (from Kant to Heidegger). The gradual disappearance of the notion of “aura” in the history of the discipline is fundamental for understanding the “crisis” aesthetics suffered in the 1900s.L’autore intende mostrare come la nozione di “aura” che può essere equiparata al “meraviglioso”, comunemente considerata come l’“origine della filosofia”, è ciò che lega intimamente la nascita dell’estetica a quella della filosofia, in Grecia. L’autore esamina poi i punti chiave nello sviluppo dell’“estetica” come disciplina considerando alcuni dei più influenti filosofi, antichi (Platone, Aristotele e Plotino) e moderni/contemporanei (da Kant a Heidegger). La graduale scomparsa della nozione di “aura” nella storia della disciplina è fondamentale per comprendere la “crisi” di cui soffre l’estetica nel Novecento
Simone Weil e il miracolo della bellezza nel mondo: Un pensiero “sulla soglia”, tra etica ed estetica
Full text linkIn this paper, my first aim is to explain what Weil thinks is the necessary and sufficient condition of the experience and love of beauty, i.e. the renunciation of the imagination, a relevant element because it gives some important hints about the nature of beauty itself as well as why the love of beauty is on equal footing with love of the neighbor. Secondly, I will attempt to delineate the actual nature of beauty for Simone Weil, through a variety of her writings. It will become evident that, for Weil, beauty is a property of God, and is inextricably bound to God’s creation.In questo articolo, mi propongo anzitutto di analizzare ciò che Weil pensa essere la condizione necessaria e sufficiente dell’esperienza estetica e dell’amore per la bellezza, ossia la rinuncia all’immaginazione, elemento questo rilevante perché fornisce alcune importanti indicazioni sulla natura della bellezza stessa e sul perché l’amore per la bellezza sia paritetico all’amore per il prossimo. In secondo luogo, cercherò di delineare quella che per Simone Weil è l’autentica natura della bellezza, “spigolando” nei suoi scritti. Diventerà evidente che, per Weil, la bellezza è una proprietà di Dio ed è inestricabilmente legata alla creazione divina