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Limit-Forms of Time
Get PDFTo establish what time is, as in Plato’s iconic definition (“moving image of eternity”, Timaeus 37d), one often has to emphasize its relation to what time is not. Time seems to be defined dialectically, in terms of what is not eternal, not extra-temporal, etc. Husserl’s phenomenology as well shows how experience involves several borderline forms of time. But these sui generis forms of timelessness are for Husserl as many modes of time, they are variations of the same constituent temporality. Time thus presents its dialectical counterparts within itself, rather than being metaphysically drawn ex nihilo from eternity. Allzeitlichkeit, for example, is the capacity of idealities to be in any time; Überzeitlichkeit is the property of the I to function as the focus of appearance in any possible living experience; Zugleichkeit is the proper mode of the a priori of correlation, i.e. the fact that the intertwined processes of Objektivierung and Subjektivierung occur at the same time; Urzeitigung and Selbstzeitigung describe the primordial dimension of the absolute flow of consciousness (Urprozess); finally, Simultaneität and Gleichzeitigkeit refer respectively to the system of sedimented sense (secondary passivity) and to the modality of its reactivation. All these boundary forms do not negate time, but entertain a constitutive relationship with its becoming. Overall, then, Husserl’s view is that of a pluralistic and polyhedric unity of time.To establish what time is, as in Plato’s iconic definition (“moving image of eternity”, Timaeus 37d), one often has to emphasize its relation to what time is not. Time seems to be defined dialectically, in terms of what is not eternal, not extra-temporal, etc. Husserl’s phenomenology as well shows how experience involves several borderline forms of time. But these sui generis forms of timelessness are for Husserl as many modes of time, they are variations of the same constituent temporality. Time thus presents its dialectical counterparts within itself, rather than being metaphysically drawn ex nihilo from eternity. Allzeitlichkeit, for example, is the capacity of idealities to be in any time; Überzeitlichkeit is the property of the I to function as the focus of appearance in any possible living experience; Zugleichkeit is the proper mode of the a priori of correlation, i.e. the fact that the intertwined processes of Objektivierung and Subjektivierung occur at the same time; Urzeitigung and Selbstzeitigung describe the primordial dimension of the absolute flow of consciousness (Urprozess); finally, Simultaneität and Gleichzeitigkeit refer respectively to the system of sedimented sense (secondary passivity) and to the modality of its reactivation. All these boundary forms do not negate time, but entertain a constitutive relationship with its becoming. Overall, then, Husserl’s view is that of a pluralistic and polyhedric unity of time
The Pure and the Impure: Anthropological Approaches for the Study of the Ancient World
Get PDFThe article explores how the categories of pure and impure have been introduced and utilized in the studies of cultural and social anthropology, and how the debate surrounding the themes of purity and impurity has evolved over time, providing analytical perspectives and approaches useful for the study of the ancient world. It also reflects on the connection of this topic with the notions of identity, liminality, and boundary, within processual and dynamic, constructivist, and anthropo-poietic perspectives. Finally, it highlights the political implications of the notions of purity and contamination in today’s society.L'articolo esplora come le categorie di puro e impuro siano state introdotte e utilizzate negli studi di antropologia culturale e sociale e come il dibattito intorno al tema della purezza e dell’impurità sia stato articolato nel corso del tempo offrendo prospettive di analisi e approcci utili agli studi del mondo antico. Si riflette inoltre sulla connessione di questa tematica con le nozioni di identità, liminalità e confine, entro prospettive processuali e dinamiche, costruttiviste e antropopoietiche. Infine, si evidenziano le implicazioni politiche delle nozioni di purezza e contaminazione nella società odierna.
 
Un’aggiunta alla miniatura padana del XII secolo: gli alberi di parentela in un manoscritto poco noto del Decretum Gratiani nell’Archivio di San Pietro a Perugia
Get PDFThe arbores consanguinitatis et affinitatis, painted with figures depicting a bearded monarch and a married couple within a codex of the Decretum Gratiani in the Archivio di San Pietro in Perugia (CM 4, fols 291v-292r), were briefly mentioned by Hermann Schadt in his seminal study on kinship trees, with a plausible dating to the late twelfth century. The arbores in the Perugian manuscript have largely been overlooked in subsequent studies. The figures adorning the diagrams can be compared to a group of specimens likely from the same workshop, possibly active in Bologna during the last decades of the twelfth century. This contribution addresses the problematic artistic culture of these illuminators, a subject of controversial interpretations by scholars due to its intersections with transalpine production and the extremely limited knowledge of the Bolognese pictorial scene during this period. The transalpine elements of the miniatures suggest a circulation of Nordic forms common in book decoration of the time in the Po Valley area, which must also have characterized an international center of legal studies such as Bologna.Le arbores consanguinitatis et affinitatis, miniate a pennello con la rappresentazione di un sovrano barbato e di una coppia di coniugi all’interno di un codice del Decretum Gratiani dell’Archivio di San Pietro a Perugia (CM 4, ff. 291v-292r) sono state menzionate brevemente da Hermann Schadt nel suo fondamentale studio sugli alberi di parentela con una plausibile datazione alla fine del XII secolo. Le arbores del manoscritto perugino sono rimaste pressoché ignorate negli studi successivi. Le figure che decorano i diagrammi possono essere avvicinate a un gruppo di esemplari probabilmente opera di una medesima bottega, forse operante a Bologna negli ultimi decenni del XII secolo. Questo contributo affronta la problematica cultura figurativa di questi artisti, oggetto di interpretazioni controverse da parte della critica a causa delle tangenze con la produzione transalpina e allo stesso tempo della conoscenza estremamente diradata del panorama pittorico bolognese a queste date. Le componenti oltremontane delle miniature appaiono indice di una circolazione di modi nordici comune nella decorazione libraria del tempo in area padana e che doveva altresì caratterizzare un centro internazionale di studi giuridici quale Bologna
La escultura arquitectónica de la casa medieval (Mallorca). Puesta en valor, reubicación y nuevos usos
Get PDFThis work aims to highlight a little-known heritage from the medieval period, based on the example of Majorca: the architectural sculpture of the medieval house. In comparison with other artistic manifestations of the period, this one had traditionally been considered secondary, a fact that conditioned its knowledge, protection and enhancement. On the basis of some examples, selected on the basis of criteria relating to their preservation, relocation and new uses, we will stress the importance of the recovery, conservation and enhancement of this sculptural typology. Therefore, we are in line with the motto of the monograph in which the article is included.Este trabajo pretende poner el acento en un patrimonio de época medieval poco conocido a partir del estudio de un caso circunscrito a Mallorca; a saber, la escultura arquitectónica de la casa medieval. En comparación con otras manifestaciones artísticas del período, tradicionalmente ésta se había estimado como secundaria, hecho que condicionaba su conocimiento, protección y puesta en valor. A partir de un elenco de obras, seleccionadas en base a criterios relativos a su preservación, reubicación y nuevos usos, incidiremos en la importancia de la recuperación, conservación y puesta en valor de esta tipología escultórica, para así ajustarnos al lema del monográfico en que se incluye el artículo
Distruzione e rimozione. Risarcire la memoria delle cattedrali perdute di Pavia
Get PDFIn the 1930s, the demolition of the remaining structures of Pavia's twin cathedrals signified the definitive disappearance of a monument of significant historical and architectural importance. The restitution of Pavia's episcopal complex represents the focus of the research presented in this contribution, which aims to demonstrate the initial findings, particularly those pertaining to the 12th-century Romanesque phase. In recent years, an in-depth analysis of archive documents has been carried out. Among these documents, the large corpus of photographs taken during the demolitions of the 20th and 19th centuries stands out, as do the surviving material remains, such as the sculpted trousseau, which is now preserved in the Civic Museums of Pavia. The research is ongoing and will require further work, but it has already enabled the reconstruction of the original location of numerous cathedral sculpture fragments and the presentation of new data on the pre-Romanesque phases and the approach of the 12th-century builders to existing structures. The new data provides numerous points for reflection, beginning with the links with other Romanesque sites in the Po Valley and the role of Nicolò's workshop in the artistic panorama of Pavia.Negli anni Trenta del secolo scorso la demolizione degli ultimi resti delle cattedrali gemelle di Pavia segnò la definitiva scomparsa di un monumento di straordinaria importanza. La restituzione del complesso episcopale pavese è al centro delle ricerche di cui questo contributo vuole mostrare i primi risultati, in particolare relativi alla fase romanica di XII secolo. Negli ultimi anni è stata condotta un’analisi approfondita dei documenti d’archivio, fra cui spicca l’ingente corpus di fotografie scattate durante le demolizioni di XX e XIX secolo, oltre che dei resti materiali superstiti, come il corredo scolpito, oggi conservato nei Musei Civici di Pavia. La ricerca è ancora in corso e richiederà ancora molto lavoro, ma già ha permesso di ricostruire la collocazione originaria di molti dei frammenti della scultura delle cattedrali, oltre a offrire dati nuovi sulle fasi preromaniche e sull’approccio alle preesistenze del cantiere di XII secolo. I nuovi dati offrono molteplici spunti di riflessione, a partire dai legami con gli altri cantieri del romanico padano e con il ruolo della bottega di Nicolò nel panorama artistico pavese
"Suspension of disbelief" vs. "Secondary Belief": fictional worlds in Coleridge and Tolkien
Get PDFThis article aims to analyse S.T. Coleridge’s theory of suspension of disbelief and poetic faith, which seems to overshadow a conception of the literary work as displaying a “separate universe” capable of reconfiguring the experience of everyday reality. This theory, particularly through the mediation of Owen Barfield, exerts a considerable influence on J.R.R. Tolkien’s essay On Fairy-stories, which enters subtle controversy with Coleridge and opposes and opposes the suspension of disbelief with his “Secondary Belief”. The difference between the two authors can shed light on dissimilar conceptions of the ontological status of the fictional worlds.This article aims to analyse S.T. Coleridge’s theory of suspension of disbelief and poetic faith, which seems to overshadow a conception of the literary work as displaying a “separate universe” capable of reconfiguring the experience of everyday reality. This theory, particularly through the mediation of Owen Barfield, exerts a considerable influence on J.R.R. Tolkien’s essay On Fairy-stories, which enters subtle controversy with Coleridge and opposes and opposes the suspension of disbelief with his “Secondary Belief”. The difference between the two authors can shed light on dissimilar conceptions of the ontological status of the fictional worlds
Topographies of imagination: exploring light, body, and meaning in the myth of Endymion and Selene
Get PDFThis contribution explores the representation of the myth of Endymion and Selene in specific artworks from the Global North (especially by Pier Francesco Mola and Anne-Louis Girodet de Roussy-Trioson), focusing on the interplay between light, body, and meaning. The study uncovers the complexity and evolution of Endymion’s character, influenced by changing cultural and artistic contexts. It delves into the spatial dimensions of imagination, symbolic associations, semiotics of light, and evolving ideals of masculinity, emphasizing the importance of interpreting the myth through a topographic perspective. Furthermore, it examines how cultural norms and spatial constructs challenge established conventions, introducing disruptive elements within familiar narratives. Endymion’s portrayal as a passive figure bathed in Selene’s light serves as a focal point for exploring themes of desire, castration symbolism, and the objectification of the male body that reflects broader shifts in artistic sensibilities and cultural norms
Una desmitificación del relato de la originalidad ex nihilo: César Vallejo, Trilce y dadá París: huellas de un estímulo silenciado
Get PDFThis note is a commentary on Carlos Fernández’s César Vallejo, Trilce y dadá París: huellas de un estímulo silenciado. Woodbridge: Boydell & Brewer Ltd, 2023.Esta nota es una reseña de la obra de Carlos Fernández César Vallejo, Trilce y dadá París: huellas de un estímulo silenciado. Woodbridge: Boydell & Brewer Ltd, 202
“Estos periódicos mínimos vuelan ágiles sobre los surcos”. Vínculos entre el Boletín Titikaka y revistas culturales argentinas
Get PDFThe Boletín Titikaka was a publication that emerged in Puno in 1926 under the direction of Gamaliel Churata (Arturo Peralta), which constituted the main spreading source of the intellectual and editorial actions of the young people associated in the so-called Orkopata Group. At the same time, the magazine began to incorporate articles from intellectuals not only from the regional highland level or from the Lima area, but also had a large number of foreign contributors. In the same way, it searched to integrate an extensive relational network with cultural magazines from various cardinal points of our continent, forming a transborder religatory map. In this study, we gather the presence of the Argentine press in the pages of the Puno bulletin, in order to inquire about the nature of these connections and the main actors involved. Moreover, we analyze the discursive strategies used in the Boletín to build its insertion into a broad magazine circuit, which involves, in this particular case, not only Buenos Aires but also other non-capital alternative spaces.El Boletín Titikaka fue una publicación que surgió en Puno en 1926 bajo la dirección de Gamaliel Churata (Arturo Peralta), la cual constituyó el principal medio de difusión de las acciones intelectuales y editoriales de los jóvenes nucleados en el llamado Grupo Orkopata. A su vez, la revista fue incorporando artículos de intelectuales no solo del ámbito regional serrano o limeño, sino que también contó con una gran cantidad de colaboradores extranjeros. De la misma manera, buscó integrar una extensa red relacional con revistas culturales procedentes de diversos puntos cardinales de nuestro continente, conformando un mapa transfronterizo religatorio. En el presente trabajo, recabamos la presencia de la prensa argentina en las páginas del volante puneño a fin de indagar sobre la naturaleza de dichas conexiones y los principales actores involucrados. Al mismo tiempo, analizamos las estrategias discursivas empleadas en el Boletín en pos de construir su inserción en un amplio circuito revisteril que involucra, en el caso que nos compete, tanto a Buenos Aires como a otros espacios alternativos no capitalinos