1,721,159 research outputs found
Disruption of Habits During the Pandemic
No full textn the year 2020, everything we used to think about our habits has been profoundly disrupted. Lockdown still represents an unprecedented experience for all those who went through it, radically affecting our freedom of movement and all those social interactions that used to make up our daily lives. Some people believe that once the pandemic ends, nothing will be the same. Others believe that once the virus becomes weaker or a vaccine is at our disposal and the fear is diminished, everything will go back to normal because the mechanism of habit is in many ways similar to the mechanisms of nature, reiterating the uniformity of its functioning. Which is correct? Both positions, perhaps. When philosophers addressed the issue of customs, namely collective habits, they have generally emphasized that caution us required when it comes to changing them - and indeed, if we look back at history... Could pandemics affect shared habits in specific territories, habits that were ultimately generated in reaction to other natural risks and threats
Camera oscura e interiorità
No full textThe essay thematizes the complex relationship between science, literature and philosophy will go around the question of the representation of interiority. In these pages, the author shows the novelty of an interdisciplinarity approach capable of grasping the contributions of scientifc discourse and the literary paradigm in the construction of interiority form the end of the Eighteenth Century. At hte same time the author outlines the conceptual and historical scenario in which situate the various contributions that compose this review's issue respect to which the essay is also the introduction
A. Gimeno y Cabañas: “Quando incontrai Marcel Proust” (1932)
Full text linkThe spanish reception of Proust’s work between the 1920s and the 1930s is lively and marked
not only by the first translation of the Recherche in order of appearance (1920), but also by a
large number of articles published in newspapers and periodicals. In this scenario, we can meet
the evocation of a dinner at Proust’s home by a Spanish nobleman and doctor, Amalio Gimeno
y Cabañas. The dinner took place in 1894, within the 9th International Sanitary Conference in
Paris, in respect of which the Count Gimeno was part of the Spanish delegation. He was invited
by Professor Adrien Proust, father of the future author of the Recherche, and a key figure
in the Conference itself. It was on that evening that the Spanish doctor met French professor’s
wife, and also the young Marcel, who was 22 years old. Some years later, Gimeno y Cabañas
rebuilt that episode and finely outlined the figures of Madame Weil and his son Marcel
La camera oscura dell’interiorità e la reduplicazione di sé: Rousseau tra Descartes e Proust
No full textRousseau è il primo scrittore moderno a sovvertire in modo radicale il rapporto autore/opera. Sono due le mosse operate da Rousseau a riguardo: la prima consiste nello sforzo progressivo di modificare la sua esistenza per accordarla con la propria opera; la seconda punta sullo svelamento di sé attraverso una confessione scritta che mostri l’intimo accordo tra l’opera e il suo autore. Per tentare di saggiare l’originalità e la problematicità della “performatività” di Rousseau, nell'articolo viene proposto un esperimento teorico nel quale il suo pensiero viene situato entro un campo epistemologico delimitato da un lato da Descartes e dall’altro da Proust. Ciò poiché con il primo Rousseau condivide un filosofare che trae la propria spinta e il proprio alimento dal ripiegamento su di sé, da quanto si cela nell’interiorità. La coscienza dove si ritira Rousseau è la camera oscura della nostra memoria e il solo garante delle verità estratte da quel laboratorio è il soggetto, in un dissolvimento progressivo dell’autobiografia nel romanzo, entro il quale cresce la consapevolezza che l’atto della scrittura contiene un inevitabile scivolamento dalla somiglianza alla finzione. Un esito, questo, che anticipa per più versi il modello proustiano.Rousseau is the first modern writer to radically subvert the author/work relationship. There are two moves made by Rousseau in this regard: the first consists in the progressive effort to modify his existence to accord with his work; the second focuses on the unveiling of himself through a written confession that shows the intimate agreement between the work and its author. In order to attempt to test the originality and problematic nature of Rousseau's 'performativity', the article proposes a theoretical experiment in which his thought is located within an epistemological field delimited on the one hand by Descartes and on the other by Proust. This is because with the former Rousseau shares a philosophizing that draws its impetus and nourishment from withdrawal into oneself, from what is concealed in the interiority. The conscience in which Rousseau withdraws is the camera obscura of our memory, and the sole guarantor of the truths extracted from that laboratory is the subject, in a progressive dissolution of autobiography in the novel, within which the awareness grows that the act of writing contains an inevitable slide from resemblance to fiction. An outcome, this, that anticipates in many ways the Proustian model
Violência, mal radical e livre arbítrio: Guimarães Rosa leitor de Nietzsche
No full text"Grande Sertão: Veredas" (1956), the masterpiece of the Brazilian writer João Guimarães Rosa (1908-1967), contains an articulated and detailed illustration of the various ways in which human violence manifests itself. The thematic of violence in the novel’s economy and in general in the whole production of the author is strongly connected to the theme of evil, which Guimarães Rosa oftentimes personifies in the Devil, with whom the characters of the novel entertain a metaphysical relation. The reconstruction of the author’s German library, recently carried out based on the books that belonged to him, provides interesting data concerning the Brazilian novelist’s readings of Nietzsche’s works. A handwritten note of Guimarães Rosa in the margin of the "Human, all too human" aphorism 99 is a precious starting point to reconstruct the philosophical background of the phenomenology of violence delivered in the novel. Our contribution intends to show how much the meditation of Nietzsche’s moral doctrine forms an essential theoretical foundation to understand the reflexion on violence, on evil, and on free will contained in "Grande Sertão", and more generally in the whole works of Guimarães Rosa
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