1,720,976 research outputs found
Honesty, shame, courage: reconsidering the Socratic elenchus
No full textThe elenchus (gr. ἔλεγχος, literally “argument of disproof”, “refutation”, “cross-examining”) is the core of the Socratic method represented by Plato in his early dialogues. This enquiring technique, employed by Socrates to question his interlocutors about the nature or definition of ethical concepts, is the object of a never-ending scholarly debate, concerning especially its primary purpose: is it a positive method, leading to knowledge, or is it rather a negative method, aiming exclusively at refuting the interlocutor’s belief? This paper, through the analysis of some key passages in Plato’s early dialogues, focuses on the structural features of the elenchus in order to understand how the elenctic refutation is developed, why Socrates chooses a dialectical method often ending in aporia, and whether the Socratic method can be considered, not merely an instrument aiming at the recognition of one’s ignorance, but primarily a positive search for knowledge
L’Inno a Zeus nella parodo dell’Agamennone: interpretazioni ‘ottimistiche’ e interpretazioni ‘pessimistiche’ (Ag. 160-183)
No full textI vv.160-183 dell’Agamennone, ricordati dagli studiosi come “Inno a Zeus”, rivestono un ruolo centrale all’interno del discorso etico-religioso dell’Orestea. Eschilo mette in scena la tensione tra una volontà superiore, che trascende quella umana e la guida a un esito finale, e l’azione derivante da una scelta che conduce l’uomo a macchiarsi di hybris e a subire l’ineluttabile punizione di Zeus. La sofferenza umana e il senso di tale sofferenza – se si ammette che un senso ci sia – sono le tematiche che emergono dall’Inno. Il Coro descrive come Zeus abbia avviato gli uomini al φρονεῖν ponendo come legge basilare dell’esistenza che ognuno “apprenda attraverso la sofferenza” (πάθει μάθος), cosicché anche chi non vuole acquisisce “la saggezza” (σωφρονεῖν). Il μάθος, il φρονεῖν e il σωφρονεῖν corrisponderebbero a una condizione di “saggezza imposta” dalla divinità, di comprensione razionale della realtà e del πάθος che essa comporta.
La strofe si conclude con due versi, oggetto di un dibattito ancora aperto: δαιμόνων δέ που χάρις βίαιος / σέλμα σεμνὸν ἡμένων. La lezione που, accolta dalla gran parte degli editori, fa sì che il Coro dia un senso alla sofferenza umana, affermando che “c’è, forse, una χάρις concessa dagli dèi”. I codici più antichi, invece, tramandano un ποῦ interrogativo che negherebbe dunque l’esistenza di una giustizia divina – “dov’è la χάρις degli dèi?” – e metterebbe in discussione l’interpretazione tradizionale della trilogia eschilea.
Si intende fornire quindi uno status quaestionis intorno al problema testuale di Ag.182-183 per proporre poi un’interpretazione dell’Inno, della terminologia μάθος/φρονεῖν/σωφρονεῖν, dunque di alcuni aspetti essenziali del pensiero eschileo
L’Œdipe moralisé. Éthique et culpabilité dans les réécritures de la première modernité, in «Cahiers d’histoire culturelle», Savoir-vivre, normes et transgression, dir. M. T. Ricci, n° 30 (2019) 11-34.
No full textLa fortune extraordinaire qu’a connue le mythe d’OEdipe dans la culture occidentale n’est plus à démontrer : il suffit de penser aux réécritures de la fable de Sophocle, à partir de l’Oedipus de Sénèque, au Roman de Thèbes au Moyen Age et à la tragédie de la Renaissance, ou encore à sa consécration par la psychanalyse freudienne. Pour reprendre les mots de Genette, une vaste « littérature au second degré » a vu le jour. L’ensemble de cette littérature possède un fil rouge : la question de la faute, du destin et de la responsabilité humaine.
En effet, la question de la faute d’OEdipe, qui commet deux crimes tels que le parricide et l’inceste mais les commet de manière inconsciente, n’est toujours pas résolue et devient, au cours de la Renaissance, le sujet central du débat sur la responsabilité et le libre arbitre du héros tragique. De plus, le renouveau de la tragédie est inextricablement lié à la redécouverte de la Poétique d’Aristote : dans le chapitre 13 (1453a7-16), celui-ci affirme que le renversement de la tragédie idéale se base sur l’échec d’un personnage intermédiaire, ni vertueux ni mauvais, qui sombre dans le malheur non pas à cause de sa méchanceté mais à cause d’une hamartia, c’est-à-dire une erreur qui se distingue de la dimension purement volontaire (et involontaire) de l’action. OEdipe est donc le personnage intermédiaire par excellence. Toutefois, la tentative de réconcilier sa faute avec la doctrine chrétienne est problématique : il est impossible en effet pour les ecclésiastiques chrétiens de considérer une erreur sans en attribuer la cause à la méchanceté d’un homme qui commet volontairement un péché contre Dieu. L’idée de hamartia, qui admet la présence du destin (en s’approchant dangereusement de la prédestination protestante) et implique que l’action humaine n’est jamais totalement libre, ne peut être acceptée par l’Église Catholique. Bien que la Poétique semble contribuer à une sécularisation de la tragédie, la redécouverte de celle-ci, sur la base d’une réinterprétation moraliste de la Poétique, est soumise à un long processus de christianisation qui va aboutir à un véritable désastre herméneutique pendant la Renaissance.
Comment le paradoxe de la tragédie chrétienne est-il alors résolu au cours de la Renaissance ? Devons-nous annoncer « la mort de la tragédie », selon la définition de Steiner ? Le but de cette communication est d’examiner la question de la faute tragique, du libre arbitre et du destin dans les réécritures du mythe d’OEdipe à la Renaissance, en analysant la représentation de la responsabilité du héros tragique dans les ouvres de Giovanni Andrea dell’Anguillara (1565), Jean Prévost (1613) et Pierre Corneille (1659)
Lucia Mariani, "Ermione dalla tragedia greca a Rossini"
No full textRecensione di Lucia Mariani, Ermione dalla tragedia greca a Rossini, Roma, Aracne Editrice, 2019, pp. 400, ISBN 978-88-255-2650-9
Scoprire come l’Architettura Interpreta la Cucina in due Ristoranti
No full textL’articolo illustra come l’architetto Andrea Lupacchini sia stato capace di interpretare e trasporre in architettura le filosofie di due ristoranti molto famosi a livello internazionale. Il libro è una guida sulla città di Roma, suddivisa in Giornate nelle quali è possibile scegliere qualcosa di straordinario, di eccezionale o semplicemente diverso dal solito da vedere. L’articolo è inserito nel capitolo “287. Giornata da Architetto
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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