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Le scritture dei filosofi - Un'introduzione - L'usignolo e la capinera
No full textThe introduction explores the crossroads of the art of writing, illuminating at least two aspects in the act of composition: the philosopher, who clearly (or vaguely) argues their ideas to formally present them, and the novelist, who dissolves himself to allow the story to grow on its own. These two aspects often intertwine, as in the case of Nietzsche, where the “second personality” he called Zarathustra takes precedence over the first. Historically, the evolution of the alphabet in Greece led to many revolutions, including an unprecedented egocentrism, the emergence of the author as such, and the development of what Descartes would later call “clear and distinct ideas”. Poetic intuition, despite Plato’s aversion, has not died, and what we believe to be the result of a logical-analytical process could actually be closer to an inspired novel rather than rationalistic philosophy (or vice versa)
Ricombinatoria della creatività: una proposta junghiana
Get PDFIn Combinatory of the creativity, Umberto Eco proposes a model of creativity based on the combinatory relation between mind and world. A trial and error process in the making of an artistic or a scientific craft is grounded upon the idea that the core of the craft already lies in nature. Such process leaves unsolved questions, like why isn’t anyone a creator due to the simple trial and error? A junghian approach to the matter may find answers in the archetypes. Due to their independence from the Ego, unconscious images like the archetypes should be treated as part of the combinatory game
Iain McGilchrist, Il padrone e il suo emissario: I due emisferi del cervello e la costruzione dell'Occidente
Get PDFPrometeo, o il Frankenstein antico
No full textVictor Frankenstein is the mad scientist archetype, a man drawn by the hubris of knowledge, or a ‘Modern Prometheus’, as stated in the subtitle of Mary Shelley’s novel. Frankenstein’s arrogance mirrors the contemporary psychological way of treating rationality as an all powerful tool, ignoring the unconscious drives of the mind. The goal of this paper is to inquire what Jung calls ‘inflation’, or the rationality’s prevarication over the irrational side of the psyche. As Nietzsche states, the consciousness’s arrogance (the main fault of Socrates) marks the beginning of the Western society’s decadence. As Jung states in the Red Book, the only way to deal with the unconscious’s creative and destructive drives is to acknowledge our inner dark half, our ‘Self ’. By refusing his own monster (or his psychological doppelganger), the Modern Prometheus marks his doom
L’oscuro riflesso, relazioni tra letteratura fantastica, creatività e psicologia del profondo
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Nietzsche "soltanto giullare, soltanto poeta": eversioni di letteratura e filosofia nelle ultime opere
Get PDFGli scritti di Nietzsche sono caratterizzati dall’uso di uno stile “polifonico” unico.
Seguendo la lunga (e ormai perduta) tradizione di fondere poesia, teatro, dramma e filosofia, Nietzsche ha ereditato lo stile inquietante dei primi Cinici (che a loro volta avevano saccheggiato il lato più “mostruoso” di Socrate), l’espressione libera di Laurence Sterne e i dialoghi polifonici de Il nipote di Rameau di Denis Diderot. Nietzsche mostrò interesse per questo tipo di scrittura fin dai suoi primi studi filologici e lo espresse al meglio negli scritti successivi, padroneggiando la tecnica controintuitiva del “double stopping” (ossia l’impiego di più voci allo stesso tempo) e del ventriloquismo: un mix che rende difficile identificare “chi” sta realmente parlando nei suoi testi. Un personaggio può infatti parlare con la voce dei contemporanei di Nietzsche per affascinare (o disturbare) il lettore, può essere una maschera per Nietzsche stesso, o addirittura un avversario che Nietzsche sta canzonando. Questa sciarada di contraddizioni sembra essere un ostacolo al pensiero razionale, ma, secondo Nietzsche, è l’essenza stessa della vita: una mascherata senza fine che non potrà mai essere messa a nudo
RICOMBINATORIA DELLA CREATIVITÀ: UNA PROPOSTA JUNGHIANA
No full textIn Combinatory of the creativity, Umberto Eco proposes a model of creativity based on the combinatory relation between mind and world. A trial and error process in the making of an artistic or a scientific craft is grounded upon the idea that the core of the craft already lies in nature. Such process leaves unsolved questions, like why isn’t anyone a creator due to the simple trial and error? A junghian approach to the matter may find answers in the archetypes. Due to their independence from the Ego, unconscious images like the archetypes should be treated as part of the combinatory game
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