1,720,961 research outputs found
Pensare (con) la 'letteratura'. Temi e modelli di 'filosofia della letteratura'/Thinking (with) 'Literature'. Issues and models of 'philosophy of literature'
No full text
Note fenomenologiche sui cosmi comici di Calvino
Full text linkThe aim of this article is to formulate a definition of the cosmicomic genre invented by Italo Calvino based on a phenomenological characterization of the narrative environment it presupposes. In keeping with the title of Calvino’s work, such environment will be called “comic cosmos”. It will appear that the comic cosmos is a type of impossible life-world constructed by merging the scientific description of reality with the environment of individual and collective human life. This characterization of the cosmicomic genre will also clarify why it can in no way be equated with science fiction
Literature between metaphysics, phenomenology and anthropology. Structures, dynamics, worlds
No full textThe paper aims to investigate how and why literature is particularly effective in constructing relational dynamics within possible worlds, thus managing to bring into dialogue approaches that historically have sometimes struggled to interact productively, such as classical metaphysics, phenomenology, and philosophical anthropology. The essay develops these premises by analysing the evocative and
deconstructive power of literature in placing itself at the origin of the crucial metaphysical dichotomy between subject and object. The attention is then focused on one of the most characteristic features of the literary gaze, namely its anthropological significance. Indeed, literary descriptions of character types often bring to light the settling of attitudes, and in so doing infuse depth and, ultimately, life
into many phenomenological procedures aimed to let the tacit assumptions of metaphysical concepts emerge. The aim is thus to demonstrate, on the one hand, the mediating role of anthropology between metaphysical conceptuality and phenomenological analysis and, on the other, the ability of literature to become a concrete instrument of this mediation. Finally, the consistency of the proposed model is tested through the analysis of a case study, namely envy, considered in some of its different literary expressions
Chapter XX. Europe Between Agony And Hope: Christianity, History And Violence In María Zambrano
No full text
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
- …
