521 research outputs found
Gandolfi, Silvana
No full textA brief description of the main characteristics of the works for children of the Italian author Silvana Gandolfi, the themes she privileges, her way of portraying children, the influence of Oriental culture and philosophy upon her writing
Por una historia conceptual de lo político
Full text linkPOR UNA HISTORIA CONCEPTUAL DE LO POLÍTICO. Author: Pierre Rosanvallón Year 2016, 1st Reprint - (2003 1st edition in French and 1st in Spanish) - Fondo de Cultura Económica, Colección Popular - 79 pages. Translated by: Marcos Mayer. By Silvana Fernánde
Self-interpretation in Psychoanalysis and Philosophy. Notes on Wittgenstein and Freud
No full textThis essay analyses the criticism that Wittgenstein aroused to Freud and to the “analytic myth”, as he was used to say. The author snows that the Wittgenstein’s criticism is a general critique to the psycho-analysis’ scientist self-interpretation and to the interpretation of psycho-analysis as a science based on causal arguments. Moreover, correspondences between Wittgenstein and Freud about the notion of image and about the configurative characters of symbolism are investigated. These themes give the author the opportunity of reflecting briefly on the scientific status of psycho-analysis
Spigolature linguistiche da Verga a Silvana Grasso
No full textIn this work, emphasis is placed on the need to frame Grasso's work between a writing tradition that has the Verga model as its watermark and her personal linguistic innovation. A comparative analysis of two texts is conducted: La Lupa by Giovanni Verga and Il bastardo di Mautàna by Silvana Grasso. The two works allow us to observe a stratified composition of the language, which for both authors enjoys references to the dialect drawn from a linguistic heritage mediated by literature and popular traditions, but in the case of Grasso also contains numerous autochthonisms, not present in Verga . Silvana Grasso takes up and exaggerates the key themes of Verga's work, but proposes a new writing, which takes the form of a recognizable style upon opening the book, thanks to the use of expressions and stylistic features that the author draws directly from her linguistic micro-area and which he is not afraid to use, unlike Verga, who prefers to hide dialect forms and lexemes, faithful to his poetics, and prefers a standard dialect mediated through literature. A lexical and morphosyntactic analysis is conducted in order to show how Grasso's language takes up and exaggerates the two tracks of the Verga language through an extreme use of aulicisms and the addition of dysphemisms
After Postmodernism: A Naturalistic Reconstruction of the Humanities
No full textThis review reconstructs the argumentations that the author of the essay After Postmodernism employs in order to maintain that human sciences are not only a form of cultural Bildung, but rigorous scientific Knowledge, concerning human behaviour and mental processes
n-Cotilting modules and pure injectivity
No full textThe author recently proved that 1-cotilting modules are pure-injective; however, the problem of
determining whether n-cotilting modules are pure-injective remained open. In this paper, necessary
and sufficient conditions are given for the pure-injectivity of n-cotilting modules
Pragmatics and its discontents
No full textThis paper deals with a number of epistemological ambiguities in pragmatica theories. A great amount of idealization is in fact still presupposed by pragmatics. The author claims that it is necessary to develop alternatuve theoretical models in which the uses of language and the discourses are the places where the meaning and the subjects are constituted
El problema del ser de Alberto Magno a Tomás de Aquino
Full text linkEste artículo indaga si la doctrina tomista del ser como
actus essendi habría tenido algún antecedente en el pensamiento de
Alberto Magno o si, más bien, este autor habría sostenido una concepción
esencialista del ser.This article asks whether the Thomistic doctrine of being
as actus essendi would have had some background in the thinking of
Albert the Great, or, rather, this author would have held an essencialist
conception of being.Fil: Filippi, Silvana.
Universidad Nacional de Rosari
sweet money: cultural and economic value in Trollope's Autobiography
No full textTrollope wrote his Autobiography at a time when the value of his literary stock was at a low point. Not surprisingly, the question of value—the tension between literary value and economic value—is a recurrent concern in this text. In the mid 1870s he was also a member of the Royal Commission on International Copyright. The debate on international copyright pivoted on the issue of control. English authors feared that, in an open, global marketplace, they had little power to control the dissemination of their works. It is with reference to this controversial scenario that I reconsider the model of control Trollope meticulously elaborates (and even promotes) in An Autobiography. As I argue in this essay, Trollope’s appeal to the language of trade serves the ideological function of repositioning the author who writes for the market as a free agent who is not subservient to the market. The figure of the literary tradesman depicted in this text is not one-sided, nor is this tradesman always perfectly at ease in the marketplace. His sense of comfort is constructed retrospectively by mobilizing the entrepreneurial rhetoric and, more conspicuously, by flaunting grand totals. These sums, however, are not simple, unproblematic quantifications. The narrator of the Autobiography constantly worries about the tension between aesthetic and economic value, between cultural and market price. To describe himself as a good negotiator and an efficient price maker is not enough. The price he demands has to be justified as a fair one in the dual market he supplies: the market where commodities are bought and sold and the market where creative ideas circulate. Trollope’s theory of realism, I contend, functions as an ad hoc construction that allows Trollope to justify his profits and his addictive productivity by invoking a different regime of value in which the author as creator, rather than the author as producer, becomes prominent
- …
