1,354,884 research outputs found
Prefazione a "Drammaturgia 'sommersa'. Tra 'generi' e 'genere'"
No full textIl panel, di cui sono curatrice insieme a Roberto Puggioni e a patrizia Zambon, ha inteso recuperare alcune delle autrici femminili di teatro dei secc. XVI-XI
Il giurista e la Praxis. Materialismo storico e filosofia del diritto nel Novecento italiano
No full text
Umano, post-umano : per una nozione di soggetto nel pensiero di H. L. A. Hart
No full textThis paper aims to analyse the epistemological definition of the legal subject in Hart’s philosophical and theoretical thought. In order to achieve this, it delves into Hart’s well-known
doctrine of the minimum content of natural law, through proper references to its philosophical and methodical basis, which is reminiscent of the Oxfordian criticism of Kant’s theoretical statements. In fact, the core of the Hartian foundation of subjectivity is directly connected to the analysis of some truisms about the human nature, whose contingency is particularly emphasised by the author himself. In conclusion, this study shows how this famous and controversial doctrine can be read from a posthumanistic point of view, so that Hart’s notion of «human» is conceived as dependent on the ability to enhance our bodies through technology
Una “cronaca” teatrale del contagio. La peste napoletana del 1656 nella Partenope languente di Carlo Rota
No full textPublished in 1682, but written shortly after the outbreak of plague in Naples in 1656, the Partenope liberata, by the jurist Carlo Rota, is a singular "tragic drama". It was conceived by the author as an adaptation of the chronicle genre to dramaturgical codes and aimed to represent the health and social catastrophe that had occurred a few years earlier. The text, almost ignored by critical studies, deals with the complex relationship between actuality and literary form, and "tells" sub specie theatri the story of a plague epidemic that was strongly alive in contemporary memory. The essay examines the interferences between the narrative scansion of historical events and their stage version, in the double interpretation of the phenomenology of contamination, understood as both hybridization between two expressive genres and as a factual and symbolic representation of the trauma that struck the seventeenth-century metropolis.Pubblicata nel 1682, ma scritta a breve distanza dall’epidemia di peste napoletana del 1656, la Partenope languente, del giurista Carlo Rota, è un «dramma tragico» dal singolare impianto scenico, concepito dall’autore come adattamento del genere cronachistico ai codici drammaturgici e finalizzato alla rappresentazione della catastrofe sanitaria e sociale di pochi anni addietro. Il testo, pressoché ignorato dagli studi critici, sperimenta il complesso rapporto tra attualità e forma letteraria, “racconta” sub specie theatri la vicenda di un contagio ben vivo nella memoria del pubblico di destinazione. Il saggio prende in esame tali interferenze tra la scansione narrativa degli eventi storici e la loro versione scenica, nella duplice interpretazione della fenomenologia della contaminazione, intesa sia come ibridazione tra due generi espressivi sia come rappresentazione fattuale e simbolica del trauma che flagellò la metropoli secentesca
Uomo, azione e relazione nel pensiero giuridico di Antonio Pigliaru
No full textThis paper aims to present the philosophical thought of Italian scholar Antonio Pigliaru through a critical approach to his works. By delving into the complex relationship between this author and some of the main intellectual movements of the 20th century, I will show that Pigliaru’s concern with the problems of law and the state is to be viewed in the light of his humanistic and relational theory
Ippolito Pindemonte, Epistole e Sermoni: edizione commentata
No full textThe figure of Ippolito Pindemonte, recalled mainly for his distinguished activity as translator and for his production of rural poetry, takes his place in a significant historical-cultural conjuncture where, at European level, typical late eighteenth-century tendencies and sensitiveness intertwine, often with results that have not been thoroughly examined and defined.
The notoriety gained throughout the Veronese poet's life - it suffices to think, incidentally, of the relationships he had with renowned figures of the time, such as, Parini, Cesarotti, Alfieri and Foscolo, - gradually declined during the nineteenth century, despite the author's unquestionable literary qualities. Only during more recent years, has the attention of the critics, also and mainly due to a more historicizing rereading, tried - and is still trying today - to revalue Pindemonte's works particularly by concentrating on the study of the points of contact between biographical events and poetical results. The aim is to understand more accurately the poet's standing which is continually balanced between the cult of classicism and already romantic elements and which is rethought and remodulated, as stated by the poet himself with lucid awareness in one of his sermons, in a melancholy vein.
A detailed and updated study which is functional to the spanning of the thought and aesthetic tendencies with which the author represented a period of history featuring changes of fundamental importance, is certainly lacking. From this perspective, the revisitation of the epistolary corpus and of the later collection of satirical compositions - texts that were excluded from critic's interest also due to the prevailing literary fortune of the famous translation of the Homeric poem and of the overall volume of Prose e poesie campestri - may enable us to focus on aspects in Pindemonte that have not yet been addressed with sufficient attention by the exiguous tradition of studies.
Consequently, this study intends reproposing, with sufficient comments, a substantial series of works in unrhymed hendecasyllables, conceived and delivered for printing over a broad period of time, largely between 1778 and 1819. More precisely, these works consist in the epistles written during different periods of time and included in the collection entitled Versi di Polidete Melpomenio, published in Bassano by Remondini, in 1784, and edited by Aurelio De' Giorgi Bertola; in Epistole, published in Verona by Gambaretti, in 1805, and subsequently in Florence by Molini; in Sermoni, which was published in Verona by Società Tipografica, in 1819, after being opposed at length by the censorship office in Venice. Two further epistles written in hendecasyllables may be added to the above list of works, Ad Omero and A Virgilio, printed for the first time in the small volume that includes the Traduzione de' due primi canti dell' «Odissea» e di alcune parti delle «Georgiche», published in Verona by Gambaretti, in 1809. With reference to the latter epistles, in this edition, the version reviewed by the author and published in 1825-26 in an anthology of Versi attached to the edition of Elogi di letterati (Verona, Tipografia Libanti) is referred to.
The absence of a systematic critical-historiographical tradition has therefore called for a general overall rereading, from which the advantages and at the same time the difficulty of certain possible new lines of research have emerged; currently, these are not easily practicable owing to the publishing status of Pindemonte's opera omnia, which is still provisional. The epistles written in youth, although evidently of an occasional nature and showing different degrees of stylistic maturity, clearly reveal the author's adherence to neoclassical aesthetics, which is embraced and re-elaborated also according to the renowned Winkelmannian values and is included in an Enlightened view of the world: from this standpoint, therefore, the troubled aspiration to perfectible beauty, intended as the result of a constant dialogue with the classical model, turns into the search for greatness and, concurrently, perhaps also owing to the heritage of Masonic experience, revocatio ad virtutem. This is, indeed, the same underlying tension that also drives the condemnation of the horrors of the war in the following Epistole, and the stigmatization of man's vices in the later Sermoni.
The rereading of the two antiquis illustrioribus cantos is also of extreme interest for a specific evaluation of Pindemonte's poetry: his Homeric and Virgilian experiences undeniably cross the border of purely learned and scholarly activities, and become the primary source of the Veronese poet's artistic vocation. Thus, the author develops a conception of poetry that is primarily founded, according to the teachings of Horatio's lessons, on the meeting point between ars and ingenium. The constant exercise of translation from classical languages also appears to be a knowledgeable attempt to perform a literary mediation between Ancient and Modern. In conclusion, the profile of a poet emerges from the revisitation of the considerable corpus of the Epistole and the Sermoni who embodies the complex tension between continuity and discontinuity in modern traditions, and who, owing to this ferment, difficultly falls within strict historiographical patterns
Two Years of the COVID-19 Crisis: Anxiety, Creativity and the Everyday
No full textDoubtless, the COVID-19 pandemic has been extremely challenging in all aspects. However, rather than looking at COVID-19 exclusively as a catastrophic event, which has generated insecurity, anxiety, panic and helplessness, I suggest investigating this insecurity and anxiety through the prism of existential philosophy. Drawing, in particular, on the work of Søren Kierkegaard and the literature on the existentialist anxiety of international relations, this study suggested looking at anxiety not in terms of insecurity but as “freedom’s actuality”. In other words, the attention was focused not so much on the many restrictions and bans imposed during the COVID-19 pandemic, but on the many quotidian and minuscule creative interventions through which people attempted to counterbalance, respond and react to them by creating new possibilities of freedom. Special attention was devoted to the distinction between normal and neurotic anxiety. This distinction is especially important, as it connects to two different and opposing subjectivities. While normal anxiety encourages a proactive approach to life—inspiring individuals to change the present through new daily strategies—neurotic anxiety prevents it, as it tends to replicate the ordinary, the known and the familiar
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