1,333 research outputs found
Balzac, l’éternel retour, dossier coordonné par Maxime Rovere
No full textCome osserva Maxime Rovere nella sua presentazione di questo dossier dedicato all’autore della Comédie humaine, (ri)leggere Balzac, oggi, «c’est la meilleure manière de se rendre sensible aux enjeux contemporains (en particulier, ceux qui touchent aux sciences sociales), tout en les retrempant dans une vision du monde qui n’a pas renoncé à la poursuite de l’idéal» (p. 54). Jacques-David Ebguy e Agathe Novak-Lechevalier (Balzac, aujourd’hui et demain, pp. 56-58) sostengono che il romanzo balza..
Maxime Rovere (2021), Co zrobić z idiotami. I jak samemu nie wyjść na idiotę, tłum. Maria Zawadzka-Strączek, Kraków: IW ZNAK, ss. 238.
No full textPrezentowany tekst jest artykułem recenzyjnym odnoszącym się do publikacji Maxime Rovere (2021), Co zrobić z idiotami. I jak samemu nie wyjść na idiotę w tłumaczeniu Marii Zawadzkiej Strączek. Książka francuskiego filozofa w tytule zawiera słowo „idiota”, które jest przedmiotem wielostronnej refleksji w niniejszym artykule. W przytaczanej publikacji idioci z filozoficznego punktu widzenia stanowią dla Rovere’a problem natury relacyjnej, społecznej i psychologicznej (intrapsychicznej). Autor odnosi się do wskazanych kwestii z perspektywy interdyscyplinarnej, przedstawiając różnorodne możliwości interpretacji wskazanego w tytule książki pojęcia. Rozważania z kolei odnoszą się do kontekstów społecznych, zawodowych, rodzinnych i edukacyjnych.The text being presented is a review paper referring to the publication by Maxime Rovere (2021), Co zrobić z idiotami. I jak samemu nie wyjść na idiotę, translated by Maria ZawadzkaStrączek, Kraków: IW ZNAK, pp. 238. The title of the book of this French philosopher contains the word ‘idiota’ (which is the Polish word for ‘idiot’), which is the subject-matter of a multi-dimensional reflection in this paper. In the publication referred to in this paper, Rovere perceives idiots from the philosophical point of view as a problem relevant to relationships, society and psychology (intrapsychic). The author discusses the above-indicated issues in interdisciplinary terms, presenting the diverse possibilities of interpreting the notion referred to in the title of the book. In turn, social, professional, family-related and educational contexts are addressed by the author in his book
Virginia Woolf, Suis-je snob ? et autres textes baths, Introduction et traduction Maxime Rovere, Payot & Rivages, Paris, 2012, 173 p., 7,50 €
No full textCastan-Vicente Florys. Virginia Woolf, Suis-je snob ? et autres textes baths, Introduction et traduction Maxime Rovere, Payot & Rivages, Paris, 2012, 173 p., 7,50 €. In: Diplômées, n°242, 2012. Femmes créatrices d'entreprise. pp. 79-80
Bibliographie des ouvrages cités
No full textAgamben, Giorgio, Qu’est-ce que le contemporain ?, traduction de Maxime Rovere, Paris, Rivages, 2008. Amagatsu, Ushio, Dialogue avec la gravité, Arles, Actes Sud, 2000. Amblard, Jacques, Pascal Dusapin : l’intonation ou le secret, Paris, Musica Falsa, 2002. Badiou, Alain, Beckett, l’increvable désir, Paris, Hachette, [1995] 2006. Barbéris, Isabelle et Tessier, Gérard (éd.), Philippe Beck, un chant objectif aujourd’hui, actes du colloque de Cerisy, José Corti, Paris, 2014. Barnes, Julian, Le F..
Order and disorder in intellectual history. Spinoza’s case in the light of complexity
No full textThis article presents the conception of order and disorder developed by the philosopher B. Spinoza (1632-1677), and shows how this theory supports the intelligibility of nature without attributing any kind of organization to nature. From these principles, the author questions the use of causality in intellectual history, and sketches the possibility of a complex history based upon the disorder of interactions
Le Clan Spinoza
No full textBy Maxime Rovere [NB: Presentation in English] Reference: Le Clan Spinoza. Amsterdam, 1677. L’invention de la liberté. Paris: Flammarion, 2017, 562 p. ISBN : 978208133072 Auteur: ROVERE, Maxime (Netherlands Institute for Advanced Study, Amsterdam) Le Clan Spinoza mobilise toutes les ressources du roman pour faire renaître le monde dans lequel a vécu Bento de Spinoza, entre Amsterdam et La Haye, dans cette Europe du XVIIe siècle qui a vu l’avènement de la Raison Moderne. Il célèbre..
Lo studio sulle organizzazioni giovanili fasciste: una chiave per penetrare nel sistema di potere del regime mussoliniano
No full textStudying Fascist Youth Organizations: a Key for Understanding the System of Power in Mussolini's Regime. This article focuses on the results of Niccolò Zapponi’s research on fascist youth organizations, a groundbreaking essay published in 1982. The author emphasizes the originality of the essay, the very first account of the history of youth fascist organizations based on previously unpublished archival material and, above all, one of the first historiographical attempts to describe and better assess the dynamic of power within the fascist regime. Faced with the well-established interpretation of the National Fascist Party as a bureaucratic institution lacking in any political weight, Zapponi highlighted, instead, the enduring dynamism of the party; he demonstrated the existence of a plurality of centers of power - often in conflict with each other - as a structural feature of the regime; he maintained, finally, that the system’s «internal logic» had determined its evolution toward a «party dictatorship». Based on these outcomes, the historian decisively put Italian fascism among contemporary totalitarianisms. In his conclusion, the author claims that credit should go to Zapponi for having adopted - even if not actually theorized - a new approach to the study of Fascism, based on his intuition of the relationship between ideology and organization, between the myth of the fascist «new man» and the institutions established to make the myth real
At the Service of Fascist Propaganda: Italian Artists and the 1937 International Exposition in Paris
No full textThe fascism-culture relationship has for a good while been read under the interpretation of Mussolin’s regime as “imperfect totalitarianism”. As is generally recognized, Italian fascism did not promote an art of the state. The affirmation that fascism did not codify its own official style has led to the belief that Italian art enjoyed full freedom of expression. Compared to other dictatorial regimes, fascism was therefore characterized by an extraordinary expressive liberty conceded to its artists.
This essay discusses the Fascist concept of art developed during the twenties and the thirties, analyses the fascist quest for the monopoly of artistic organization and form of expressions, and then, as a study case, focuses on the relationship between fascism and artists in the organization of the Italian participation at the Paris International Exhibition of 1937.
In his conclusions, the author argues that, despite a certain degree of aesthetic pluralism, each artist placed himself in the ideological-cultural horizon of fascism and thought of contributing to the production of the “new art” of the “fascist era” advocated by Mussolini
The meaning and value of ancient book collections: the library of Francesco Maria II della Rovere
No full textAfter a reconstruction of the origins and nature of the library of Francesco II Maria della Rovere, the author reflects on the interest and value that such a collection still holds today, especially in light of its completeness and documentary richness
Nel mare del mito: la “Genealogia deorum gentilium” di Giovanni Boccaccio
No full textGiovanni Boccaccio’s Genealogia deorum gentilium is a Latin mythographic
encyclopaedia built in a complex architecture of thirteen books with the genealogical relations between the pagan gods plus two methodological books (XIV and XV) with a poetry defence and a defence of the author himself. Every book is connected to the other in a cohesive and coherent system through the metaphor of the sea voyage, which is introduced by the preface to the first book, and which is then resumed at the beginning of each subsequent chapter. The metaphor of the work as a sea voyage has a clear classical tradition behind it but takes on peculiar connotations in Boccaccio’s work: on one hand, we can recognize both Dante and Petrarch texts underneath it (particularly interesting is the association with Dedalus’ flight), on the other, this imagery assumes an innovative and structural value: the chronological criterion is – for the first time in a work like this – deeply linked to the spatial one, according to the periplus strategy used in geographical texts recently returned into circulation
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