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L’esperienza storica e l’intrascendibilità del conoscere. Sul sapere di non sapere
Get PDFIn this work, I discuss the thesis of the infinity of knowledge, starting from the experience of non-knowledge. Does the experience of non-knowledge deny the infinity of knowing? Or doesn't it? Even the non-knowledge, when affirmed, is in fact something known. The non-knowing that concerns us is always a determinate non-knowledge, that is non-absolute. Moreover, even our knowledge is always a non-absolute knowledge. However, it is also true that we necessarily know something. For example, we can know, in a necessary way that our thinking is not the Absolute, even if our thinking is somehow infinite. We are finite and infinite, according to different points of view. Because of our finitude, our knowing is always a historical knowing, and our experience of the object world is always a historical experience. It is the historical and never-ending experience of the transcendent Absolute.In this work, I discuss the thesis of the infinity of knowledge, starting from the experience of non-knowledge. Does the experience of non-knowledge deny the infinity of knowing? Or doesn’t it? Even the non-knowledge, when affirmed, is in fact something known. The non-knowing that concerns us is always a determinate non-knowledge, that is non-absolute. Moreover, even our knowledge is always a non-absolute knowledge. However, it is also true that we necessarily know something. For example, we can know, in a necessary way that our thinking is not the Absolute, even if our thinking is somehow infinite. We are finite and infinite, according to different points of view. Because of our finitude, our knowing is always a historical knowing, and our experience of the object world is always a historical experience. It is the historical and never-ending experience of the transcendent Absolute
Preliminari alla logica della presenza : contributo alla critica dell'attualismo gentiliano come teoria della prassi assoluta
Get PDFThe following work shows how the logic of the presence stands at the end of Giovanni Gentile Actualism's contradictions. This Idealism, as the Hegelian one, works to demonstrate that Thought has a tanscendental extension and that Becoming is absolutely unlimited. Indeed, Actualism aims to complete the Hegelian idealism only demonstrating that Thought and Becoming are exactly the same reality. Thus, Becoming and Thought are not abstract and independent concepts, therefore they are not just imaginary absolutes. However, the demonstration of this absolute identity involves the denial of the Thought's tanscedental extension, that the Actualism places in first position concerning its speech. My critic here, then, establishes that both, gnoseologism and dialectic must be necessarily refused and denied, in order to be able to describe the Thought's clarity without any contradictions. The logic of the presence really begins with this negation.L'analisi mostra come la logica della presenza si ponga al termine delle contraddizioni che ancora percorrono l'attualismo gentiliano. Questo, proseguendo l'idealismo hegeliano, si muove a dimostrare l'ampiezza trascendentale del pensiero e, poi, l'illimitata assolutezza del divenire. Ma esso ritiene pure di portare davvero a compimento l'hegelismo soltanto fondando pienamente l'identità di pensiero e divenire - non lasciando, così, pensiero e divenire come due concetti astratti tra di loro e, perciò, come due assoluti solamente figurati. La fondazione di tale assoluta identità finice però per negare proprio la trascendentalità del pensiero che fungeva come prima premessa della riforma. La critica intende far vedere come gnoseologismo e dialettismo debbano essere necessariamente negati insieme affinché la realtà evidente del pensiero sia descritta senza contraddizioni. Con tale negazione la logica della presenza è già effettivamente aperta
Etica, politica e antropologia - a partire dall'idealismo / Ethics, politics and anthropology - starting from idealism
No full textFilosofia delle relazioni oggettuali ed etica della riparazione. Difesa e sviluppo della teoria mediante il dialogo con i critici
Get PDFIn this paper, I reply to the objections and solicitations of the critics who intervened in the symposium on my book L’oggetto buono dell’Io. In this way, I return to discuss some fundamental concepts of the Philosophy of Object Relations, and some theses of its Ethics of Reparation. In doing so, I try to defend and develop some of the most relevant arguments of that complex theory
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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