1,721,296 research outputs found
Il pensare dialogico nel percorso intellettuale di Hilary Putnam
No full textIl confronto di Putnam con Rosenzwig, Buber e Levinas è maturato in una monografia pubblicata nel 2008. Allo scopo di valorizzarla, propongo di leggerla alla luce di un triplice contesto. Innanzitutto, inserendola nell’itinerario speculativo di Putnam e nelle tappe che hanno seguito la sua adesione alla fede ebraica; in secondo luogo, interpretandola alla luce della proposta di Putnam in ambito di filosofia della religione; infine, mettendola in parallelo con le questioni chiave della sua (meta)filosofia. I limiti dell’interpretazione offerta da Putnam sono evidenti sotto il profilo filologico e per via di una profondità ermeneutica non esente da lacune. Anche la conoscenza dell’ambito giudaico da cui questo pensiero emerge risulta solo in parte sfruttata e, di conseguenza, le questioni su che cosa significhi realmente occuparsi di filosofia vengono affrontate senza essere sistematicamente definite. Ciò nonostante la presenza di “pensatori dialogici” nella riflessione di un autore classificato come “analitico”, rappresenta un fatto decisivo e non trascurabile nell’ambito della storia della filosofia contemporanea.Putnam's comparison with Rosenzwig, Buber and Levinas matured in a monograph published in 2008. In order to enhance it, I propose to read it in the light of a threefold context. First, by placing it in Putnam's speculative itinerary and in the stages that followed his adherence to the Jewish faith; secondly, by interpreting it in the light of Putnam's proposal in the field of philosophy of religion; finally, by placing it in parallel with the key questions of his (meta)philosophy. The limits of the interpretation offered by Putnam are evident from a philological point of view and because of a hermeneutic depth that is not free from gaps. Even the knowledge of the Jewish context from which this thought emerges is only partially exploited and, consequently, the questions on what it really means to deal with philosophy are addressed without being systematically defined. Nonetheless, the presence of "dialogical thinkers" in the reflection of an author classified as "analytic" represents a decisive and non-negligible fact in the history of contemporary philosophy
La lettera da Roma del maggio 1884: reale e ideale tra passato, presente e futuro nell’Oratorio di Don Bosco
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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
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