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Joseph Priestley e Immanuel Kant: un confronto sui temi della libertà e dell’anima
Get PDFThe paper focuses on the issues of freedom and soul of the human being in relation to the thinking of Joseph Priestley, scientist and philosopher, exponent of English empiricism and materialism schools of the second half of ’700. Recalling the considerations that Immanuel Kant proposed within the first two Critiques, the analysis illustrates both the similarities and the differences that emerge from the comparison between the two philosophical perspectives
Il problema interpretativo di Gerard nel dibattito sul gusto nel Settecento inglese
Get PDFThe chronological proximity of the publication of Gerard’s and Hume’s aesthetic essays gives rise to a delicate question of interpretation which casts doubt on Gerard’s influence on his master. This paper will demonstrate how their different concepts of taste (the former still talking about “faculties”, the latter about “sentiment”) and, consequently, the role of judgment justify the hypothesis that Gerard did not affect Hume’s theory of aesthetic evaluation
Economie del grottesco nell’opera letteraria di Balzac: Le cousin Pons
Get PDFThe essay focuses on relations between grotesque and melodrama in Balzac’s literary works. Unlike Victor Hugo, the grotesque takes up a specific function in the narrative and dramatic economy of Balzac’s novels. Le cousin Pons for example shows indeed the dialectical connection between melodrama and grotesque and the role of the reader, engaged in a critical task with reference to the characters, the structure and the emotional and moral values of the novel
Il “ridere” come rottura nelle cornici di senso: esplorazione filosofica a partire da un chiasma platonico
Get PDFThe chiastic nexus between Socrates’ irony and its ridiculousness in the eyes of Thrasymachus permits to reformulate the importance of laughter as an ambiguity-laden philosophical subject. Taking into account the functions attributed to laughter by many authors – particularly Plato, Bergson, Kant, and Plessner – this paper investigates the relationship among laughter, approval, and displeasure, suggesting that the ambiguity of laughter comes out from a temporary breakdown either in the consolidated frames of meaning, or in the attempts to suggest new ones
"Lettre sur Omphale" di Friedrich Melchior Von Grimm
Get PDFTraduzione della Lettre sur Omphale di Friedrich Melchior Von Grimm
Estetica del dettaglio filmico
Get PDFThe cinematographic detail is a relevant aesthetical component. It can be neither isolated nor explained by the foreground scenery. It is necessary to consider the specific aspects of cinematic details within a wider framework, which includes both incidental and transversal components. The paper shows how filmography directors like Jean-Pierre Jeunet and Wes Anderson clarify a new perspective on this topic
Estetica della biologia, dalla scuola di Montpellier a Henri Bergson
Get PDFRecensione: Anna Maria Contini, Estetica della biologia, dalla scuola di Montpellier a Henri Bergson, Mimesis, Milano 2012, pp. 186
Il teatro come forma che pensa. Pregiudizio antiteatrale, materialità e abiezione nella scena postdrammatica
Get PDFIf one turns to the source of the so-called antitheatrical prejudice, Plato, and explores beside his notorious critics to the arts also his statements about the spectatorship, something intriguing appears. It appears that common origins link the theoretical meditation and the theatrical specta-torship, encapsulating these two occupations in the Greek word theoria, in which the sense of sight is crucial to both the act of going to the thea-tre and of engaging in theoretical inquiry. This mutual and ambivalent attraction of theatre toward philosophy and of philosophy toward theatre reaches a sort of climax in the era of post-dramatic theatre. Dismissed the general aversion to “theatricality” – still at stake within the Modern-ism theatre – contemporary theatrical scene has been demonstrating to what extent theatre is in itself a “thinking form”, or a form of thinking embodied in the material presence of the performer. Far from causing the sort of embarrassment and frustration denounced by modernist theatre artists such as Edward Gordon Craig, the actor’s deliberate vulnerability possibly enables our own and prompts us toward empathy and theoreti-cal understanding. Watching live performance is watching the actor dy-ing onstage; sharing that liveness promotes a necessary and moving con-frontation with mortality
Esperienza estetica e unità di coscienza
Get PDFJung considers the symbol as a unifying and transcendent element, as an image capable of unifying the various aspects of consciousness (sensation, intuition, feeling and thought) in a gradual rapprochement to the essential unity of being. However, this point is controversial, since the symbol is the expression of a sense that while not entirely rational, concern the cognitive sphere. Therefore what Jung attributes to the symbol (its unifying and transcendent power) was transferred to the aesthetic experience of art, where the same aspects of consciousness in the symbol are supported by perceptual elements, according to a level of completeness and unity that only the aesthetic experience of art can achieve
La tinta di Robert Wilson per il Macbeth verdiano
Get PDFThere is a significant difference between Shakespeare’s plays and Verdi’s melodramas: the complex modern-bourgeois Weltanschauung of Verdi’s works, whose central personage is always dialectically engaged with other social figures and is characterized by the force of impetuous passion. Robert Wilson’s staging of Macbeth accurately interprets the sense of the grotesque that inspired Verdi, resonating with the particular blend (gestalt) of words, music and sets intended by the Maestro of Busseto and ably appropriated by the Texan director, who coherently presents the score and the theme of passion objectively, distancing it from the character who experiences pathos on stage, produced by an internal conflict of an ethicalsocial nature