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South-east Arabian inscriptions: The current state of research
No full textThe aim of this paper is to provide a description of the issues related to the numerous undeciphered inscriptions found in Dhofar, Oman, and to a lesser extent in the Yemeni governorate of al-Mahra, Soqotra, and northern Oman, on the walls of caves in the monsoon hills and on rocks and pebbles in the adjacent dry areas. Known as the Dhofar Inscriptions, they are re-labelled here as South-east Arabian Inscriptions, as the former definition does not account for the fact that they are found not only in Dhofar, but also in other geographical areas. As will be illustrated below, the presence of these inscriptions is consistent with the presence of speakers of the Modern South Arabian Languages (MSAL), either currently or historically. Their study has long been neglected, although their discovery on the part of western travellers dates back to the end of the 19th century. Whilst dealing with the history of scholarship concerned with these inscriptions, this paper also aims to present recent advances in the field. Its structure consists of five sections: The first one presents the script(s) and the context in which the inscriptions are found, as well as the challenges associated with their interpretation. A review of the relevant literature follows in the second section. In the third section, previously unpublished materials from a private image collection are presented. The fourth section is devoted to the presentation of results obtained by the radiocarbon dating of three inscriptions. The fifth section sets forth and discusses some research avenues in light of the facts presented in the preceding sections. Finally, the conclusions section provides remarks on future research in the field
From self-discovery to self-assertion: The musical journey of Janki Bai challenging the courtesan’s liminal space
No full textAmong the most prominent vocalists of Hindustani music and stars of the gramophone era, Janki Bai Ilahabadi stands out not only as a fine singer and poet but also as a legendary artist whose life was marked by travel as the dominant trigger of change. In this article, I focus on the three journeys that, from songstress courtesan, led Janki Bai to become an accomplished artist who challenged stereotypes. The first journey represented for Janki the opportunity to debunk the cliché of the attractive gānevālī and to assert her autonomy as an artist. The second coincided with the transition of music from mahfils to the living rooms of the middle class through the gramophone. The third was crucial in solemnising Janki’s iconic image. The twilight of her career ran in parallel to the end of the golden era of the tavāyafs, the emergence of the Anti-nautch movement fostered by reformists, and the decline of courtly patronage. This article explores the function of the journey as a catalyst in Janki Bai’s life, emblematic of the broader condition of female performers in colonial India. It also examines how tavāyafs, like Janki, used their journeys to articulate and extend their agency and autonomy beyond the limited spaces they inhabited. As Janki’s story demonstrates, the construction of the female artist’s identity challenges societal expectations of a woman’s image and role. Finally, her journey is framed as one of self-discovery, self-acceptance, and self-assertion in a complex social milieu
Guido Samarani, Mao Zedong. Il Grande Timoniere che guidò la Cina dalla rivoluzione al socialismo (Salerno Editrice, 2024)
No full textGianni Vattimo fra realismo, metafisica e prassismo: Alcune considerazioni a partire dalla filosofia neoclassica di Gustavo Bontadini
No full textVattimo’s thought has always declared its praxistic vocation. In this article, the gnoseological position that can be defined as ‘pure realism’ is first examined, understood as a rejection of naive or naturalistic realism. This type of realism, which has regained prominence and mobilized itself against Vattimo’s thought, can be refuted precisely to safeguard authentic realism. Moreover, once a gnoseology unaffected by naturalism is established, it remains open to metaphysics, as the doctrine of being. It is therefore argued that Vattimo, on the one hand, should have moved towards Gentile’s actual idealism, on the gnoseological front, and also on that of the philosophy of praxis. In conclusion, however, it is suggested that Vattimo’s anti-metaphysical stance does not grasp the structure of metaphysics as it can be configured in light of idealism, following the line of Bontadini and Severino, and that, on the contrary, this metaphysics upholds the ontological difference that Vattimo holds dear
Dictaduras bebesangres: Nosferatu y el vampiro político de Griselda Gambaro
No full textEl siguiente artículo analiza dos obras homónimas de la dramaturga argentina Griselda Gambaro: el relato “Nosferatu” (1970) y la obra teatral del mismo nombre, escrita en el setenta, pero publicada hasta 1985. En particular, el texto explora la imagen del vampiro como metáfora operativa para describir y criticar el periodo de violencia política y dictatorial en Argentina entre 1966-1983 (Onganía y Videla). Siguiendo líneas críticas de la filosofía (biopolítica), la literatura y la ciencia política, el ensayo señala cómo los vampiros de Gambaro—en tanto figuras liminales—representan de manera efectiva las lógicas y prácticas del periodo dictatorial argentino, incluyendo la experiencia “concentracionaria” (Calveiro 2004) de la ciudadanía, la preservación de instituciones anti-democráticas, y los problemas relativos a la memoria.Il seguente articolo analizza due opere omonime della drammaturga argentina Griselda Gambaro: il racconto "Nosferatu" (1970) e l'opera teatrale con lo stesso nome, scritta negli anni settanta ma pubblicata solo nel 1985. In particolare, il testo esplora l'immagine del vampiro come metafora operativa per descrivere e criticare il periodo di violenza politica e dittatoriale in Argentina tra il 1966 e il 1983 (Onganía e Videla). Seguendo linee critiche della filosofia (biopolitica), della letteratura e della scienza politica, il saggio evidenzia come i vampiri di Gambaro, in quanto figure liminali, rappresentino in modo efficace le logiche e le pratiche del periodo dittatoriale argentino, inclusa l'esperienza "concentracionaria" (Calveiro 2004) della cittadinanza, la preservazione delle istituzioni anti-democratiche e i problemi relativi alla memoria
Terror Management Theory and grand-metanarratives: The search for a consilient ethics of conscious limitedness for the ecological transition
No full textThe multiple crises of the Anthropocene result from unsustainable individual behaviours and collective choices. Ethics play a key role in mediating human interactions with one another and the planet. To address these challenges, it’s essential to examine dominant ethical systems and whether they can be redirected to encourage sustainable behaviours. However, the evolution of ethical systems remains unclear, making it difficult to identify leverage points for fostering an ecologically sound cultural paradigm. This paper draws on Terror Management Theory (TMT), which suggests that cultural systems evolve in response to humans' awareness of their biological limitations. We argue that both individual and collective actions rely on a shared system of beliefs, or grand-metanarratives, that give meaning to experiences. We highlight the disembodiment metanarrative in the Western Judeo-Christian paradigm as central to the expansion of global beliefs. This paradigm first promoted the religious myth of redemption, then legitimized the narrative of progress that underpins industrial civilization. We propose that a counter-hegemonic narrative is necessary, one that emphasizes the re-embodiment of human existence within ecological limits. Pope Francis’ Laudato Si’ Encyclical Letter offers a potential stimulus for a paradigm shift towards a more empathetic, humble worldview. We argue that this shift must be ontologically open and epistemologically pluralist, laying the foundation for the emergence of global and localized ecological consciousness
“Be My Plasticity for Me”. Gloopiness in Nicole Eisenman’s Phantom Body
No full textIn the spirit of Catherine Malabou and Judith Butler’s co-authored essay, You Be My Body for Me. Body, Shape, and Plasticity in Hegel’s Phenomenology of Spirit, this speculative and experimental text examines Malabou’s concept of plasticity through the work of American artist Nicole Eisenman. Expanding on Malabou and Butler’s notion of the body as a product and agent of transformation, the paper initiates a dialogue between Eisenman’s artworks and Malabou’s writing on plasticity – particularly regarding the phantom limb. Taking up Malabou’s call to invent plasticity, the authors adapt co-authoring and create a collaborative writing style that merges visual and philosophical analysis. Enacting plasticity’s dynamic exchanges of “substitution”, “delegation”, “passing” and “becoming”, they emphasise the slipperiness in Malabou’s plasticity and the gloopiness in Eisenman’s work. Beginning with a glossary of these terms supports visualising the mirroring of plasticity and gloopiness, demonstrated through the visual analysis of Eisenman’s installation Maker’s Muck (2022) as the introduction. The latent ouroboros in this work – of muck making muck – mirrors plasticity’s form forming itself and introduces the structural ouroboros of this paper, which asks: is Malabou’s plasticity gloopy? Is Eisenman’s gloopiness plastic? Is Eisenman’s gloopiness queer? It concludes with a final question: can we call Malabou’s plasticity queer?In the spirit of Catherine Malabou and Judith Butler’s co-authored essay, You Be My Body for Me. Body, Shape, and Plasticity in Hegel’s Phenomenology of Spirit, this speculative and experimental text examines Malabou’s concept of plasticity through the work of American artist Nicole Eisenman. Expanding on Malabou and Butler’s notion of the body as a product and agent of transformation, the paper initiates a dialogue between Eisenman’s artworks and Malabou’s writing on plasticity – particularly regarding the phantom limb. Taking up Malabou’s call to invent plasticity, the authors adapt co-authoring and create a collaborative writing style that merges visual and philosophical analysis. Enacting plasticity’s dynamic exchanges of “substitution”, “delegation”, “passing” and “becoming”, they emphasise the slipperiness in Malabou’s plasticity and the gloopiness in Eisenman’s work. Beginning with a glossary of these terms supports visualising the mirroring of plasticity and gloopiness, demonstrated through the visual analysis of Eisenman’s installation Maker’s Muck (2022) as the introduction. The latent ouroboros in this work – of muck making muck – mirrors plasticity’s form forming itself and introduces the structural ouroboros of this paper, which asks: is Malabou’s plasticity gloopy? Is Eisenman’s gloopiness plastic? Is Eisenman’s gloopiness queer? It concludes with a final question: can we call Malabou’s plasticity queer?In the spirit of Catherine Malabou and Judith Butler’s co-authored essay, You Be My Body for Me. Body, Shape, and Plasticity in Hegel’s Phenomenology of Spirit, this speculative and experimental text examines Malabou’s concept of plasticity through the work of American artist Nicole Eisenman. Expanding on Malabou and Butler’s notion of the body as a product and agent of transformation, the paper initiates a dialogue between Eisenman’s artworks and Malabou’s writing on plasticity – particularly regarding the phantom limb. Taking up Malabou’s call to invent plasticity, the authors adapt co-authoring and create a collaborative writing style that merges visual and philosophical analysis. Enacting plasticity’s dynamic exchanges of “substitution”, “delegation”, “passing” and “becoming”, they emphasise the slipperiness in Malabou’s plasticity and the gloopiness in Eisenman’s work. Beginning with a glossary of these terms supports visualising the mirroring of plasticity and gloopiness, demonstrated through the visual analysis of Eisenman’s installation Maker’s Muck (2022) as the introduction. The latent ouroboros in this work – of muck making muck – mirrors plasticity’s form forming itself and introduces the structural ouroboros of this paper, which asks: is Malabou’s plasticity gloopy? Is Eisenman’s gloopiness plastic? Is Eisenman’s gloopiness queer? It concludes with a final question: can we call Malabou’s plasticity queer