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Convivencia intercultural: respuesta al profesor F. Botturi
No full textContrarily to the classical liberal theory, political multiculturalism
acknowledges rights to cultural groups �taking this problematic term in its broadest
sense� as collective subjects analogue to individual subjectivity. In modernity, individual
subjectivity has an epistemic, monological character whereby alterity must be conceived
either in form of negation and confl ict (with the �non-self �), or in form of projection (of
the �self � upon the stranger). But the acknowledgement of collective subjects is neither
one thing or the other. It is fi rst of all meeting the other�s shared humanity above cultural
diff erences. All of this is compatible with F. Botturi�s brilliant defence of civil society and
the �common good of communication�. Liberal tradition may be revisited with no need
to force the notions of identity and diff erence.En contraste con la teoría liberal clásica, el multiculturalismo político
reconoce dere chos a los grupos culturales �en el más amplio sentido de esta problemática
expresión� a título de sujetos colectivos, análogos a la subjetividad individual. Ésta, en la
moderni dad, tiene un carácter epistémico y monológico que obliga a concebir la alteridad
sea en forma de negación y confl icto (con el �no-yo�), sea en forma de proyec ción
(del �yo� sobre lo extraño). Pero el reconocimiento de sujetos colectivos no es ni una cosa
ni otra; es, antes que nada, el encuentro de la común humanidad del otro por enci ma de
las diferencias culturales. Todo lo cual es compatible con la brillante defensa que hace F.
Botturi de la sociedad civil y del �bien común de la comunicación�. La tradición liberal
puede repensarse sin necesidad de forzar los conceptos de identidad y diferencia
ROBERTO NEBULONI, Riflessività e coscienza simbolica, a cura di F. Botturi e V. Melchiorre, Vita e Pensiero, Milano 2006
No full textRecensione a R. NEBULONI, Riflessività e coscienza simbolica, a cura di F. Botturi e V. Melchiorre, Vita e Pensiero, Milano 200
Eating is a big thing. Paradoxes of Food
No full textFood in tension between paradoxes and ethics. Eating is a big thing. Food and infinity
Mangiare è una gran cosa. Paradossi del cibo
No full textIl cibo in tensione tra paradossi ed etica. Mangiare è una gran cosa. Cibo e infinito.Food in tension between paradoxes and ethics. Eating is a big thing. Food and infinity
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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