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Avere un corpo o essere un corpo? Il problema della corporeità in Jean-Paul Sartre = To have a body or to be a body? The problem of corporeity in Jean-Paul Sartre
No full textEighty years after the publication of the famous work L'être et le néant, from which this essay takes its starting point, we aim to re-examine the subject-object relationship. The philosopher, starting from the questions and also from the theoretical difficulties faced by Husserl, Hegel and Heidegger, focuses on the problem of corporeity. The body is presented almost as if it were a bridge placed between the interiority of the activities of consciousness, referring to the body that I feel and I live and the external world, grasped starting from my body made an object by others, looked at, stripped and manipulated like the inert bodies of things and, also, capable of action and orientation similarly to the body of Others. Split into its four ontological dimensions (three in Sartre's work), irreconcilable with each other, the body thus understood ends up, although the intent was opposite, by making the terms of the dialectical relationship even more distant, precipitating the relationship of being between the two in an undefined spatiality, inhabited by nothingness and the absurd. However, if it is true that we are made of flesh in a world of flesh, that we are bodies in a world of bodies, it is appropriate to clarify how we are beings of/in this world. Is it therefore possible to reconcile the subjective dimension and the objective dimension, thus resolving Cartesian dualism? Can Sartre do it
Giuseppe Longo, Le cauchemar de Prométhée, Les sciences et leurs limites, Puf, Paris 2023, 392 pp.
Get PDFProssimità del divino: i figurativi merleau-pontyani = Proximity of the Divine: Merleau-Ponty's Figuratives
No full textIn this paper, the aim is to highlight the importance of Maurice Merleau-Ponty's unfinished work, Le visible et l'invisible, and its connection to his broader project, Être et Monde. This project, comparable to works by Heidegger and Sartre, explores a new "indirect ontology" that captures the complexity of human perception. Key concepts such as "chair" (flesh) and intercorporeality underscore the dynamic relationship between the self and others. Merleau-Ponty's ideas on embodiment and alterity offer profound insights into the sacred/human relationship, presenting it as a transformative, relational process. These reflections deepen our understanding of human interaction with the world and the divine
Napoli nell’immaginario dei musicisti russi. Il caso di Michail Glinka
Get PDFMikhail Glinka represents a fundamental figure in the Russian musical culture: in traditional historiography he is considered the equivalent in music of the poet Aleksandr Pushkin as founder of original literary genres and codifier of the linguistic means with which these were expressed. For a certain period, this “parallel myth” symbolized the birth of an exclusively Russian music, a music that rejected Western influence choosing to mirror the vague concept of ‘Russian soul’ that he himself contributed to formulate in the years of Russian Romanticism. Today this image is subject to revisionism, oriented to highlight Glinka’s synthesis of the major trends of the coeval musical language. Especially in reference to theatre, this more complex image includes elements coming from the western koiné as well as elements of Russian origin. Glinka became familiar with the Italian music tradition because this had settled in Russia during the 18th century and was still à la page during the years of Glinka’s training in St Petersburg. His will to improve his compositional skills, however, led him to a prolonged stay in Italy, which made him visit several cities of the peninsula, including Rome and Naples. In his mature years, he collected the impressions of this journey in a volume of Zapiski (Memoirs, 1854). This paper investigates the effect of early-19th-century Italy on the composer as a ‘Russian traveler’, his own understanding of the country’s culture, and the mental frame through which he could “read” the places he visited during his youth, and write about them in later times. The goal is to highlight the difference entailed by the two-stage process of reconstruction of an imaginary, in relation to the Russian context that acted as a counterpart to this gaze
Sui francesismi fraseologici in italiano
Get PDFResearch into the etymologies of higher lexical units is still relatively recent. The recent blooming of phraseological projects and the current abundance of and easy access to historical documentation make a close examination of the origin and history of some of these elements timely. Based on some examples, the close relationship between French and Italian phraseology is illustrated here, proposing among other things three hypotheses of borrowing from the former language to the latter: figlio or figlia di papà ʻyoung man who is aided excessively in life and career by his fatherʼs prestige and wealthʼ, literally ʻfather’s son/daughterʼ , girarsi or rigirarsi i pollici ʻstay idle, inactiveʼ, literally ʻto twiddle one’s thumbsʼ, mettere alla porta ʻto dismiss, to send away, to kick outʼ, literally ʻto put someone at the doorʼ. In other cases (a tentoni ~ à tâtons ʻblundering, fumblingʼ, adagio Biagio ~ à l’aise Blaise ʻexpression that calls for cautionʼ) the kinship between Italian and French expression is evident but it is difficult (or conceivably impossible) to reconstruct whether this is a transfer from one language to another and in which direction
Antonio Galateo e l'Elogio di Ferdinando il Cattolico. Tessere per la costruzione di un mito.
Get PDFLo studio, attraverso un'indagine filologica e storico-letteraria, consente di ricostruire il percorso etico-politico intrapreso da Antonio Galateo nell'affermazione del mito di Ferdinando il Cattolico, quando la Corona spagnola si stava affermando nel Mediterraneo con i suoi Campagne nordafricane, al tempo delle grandi esplorazioni geografiche. Al termine dello studio, la lettera viene pubblicata in edizione critica
Per la storia di due espressioni di origine biblica
Get PDFThe paper describes the diachronic development of two Italian idioms originated in the Bible: gettare le perle ai porci (‘to cast pearls before swine’) and vedere la pagliuzza e non vedere la trave (‘a beam in your eye’, literally ‘to look at the splinter and not at the beam’). In particular, it focuses on the spread, among variants, of the most common forms today, those with the nouns perle and porci, and pagliuzza and trave
Lo sguardo dello storico dell’arte. Nikolaj Dmitrievič Protasov e le Epistole dalla Puglia
Get PDFThis essay delves into the life and work of Nikolay Dmitryevich Protasov (1886-1940), a distinguished historian and archaeologist from clerical circles. In 1914, he embarked on a research mission to Apulia, Italy, where he made groundbreaking discoveries on the role played by Byzantine monasticism in the territories under the jurisdiction of the Ecumenical Patriarchate of Constantinople (8th-11th century). He also explored the potential influence of medieval Italian painting on ancient Russian painting. During his stay in Apulia, he became completely absorbed by the discovery of the Apulian rock churches and the depictions of Saint Nicholas of Myra present in them. He accurately described his findings in Pisma iz Apulii (1914-1915). Nikolay Dmitryevich’s letters serve as a noteworthy testimony to Italy’s great allure for Russians during that time. This attraction was not only due to the richness of its artistic heritage and scenic beauty but also because of the fundamental role that its southern part had played since the time of the Greek-Gothic War (535-553). His letters reveal echoes of ancient conflicts, persecutions, migratory waves, Greek monastic communities, and the lives of the Saints. The text is marked by an extreme sensory precision in the perception of the environment, and it is composed in the respectful observance and practical application of what was established by the cultural authority that had determined the scholar’s passage in the south of Italy
The Artist Irina Kowalska. To the South of Italy from Warsaw via Vienna
Get PDFThe artist Irene Kowaliska (her real surname is Kowalska), born in Warsaw in 1903, made an enormous contribution to the development of applied arts on the Amalfi Coast in the middle of the last century. She began as a ceramist in Vietri sul Mare, in the 1930s, continuing as a fabric designer (especially for batik) in the 1940s and 1950s in Positano. Her cosmopolitan roots – Jewish, Russian, Polish, – as well as her formative years in Vienna played a crucial role in the development of her own style. The creative output of Kowaliska is marked by her love for the Italian South and her desire to reflect its peculiarity. The post-war success of Moda Positano owes much to her talents