1,721,062 research outputs found
La questione dell’arte tra filosofia dei valori e Kulturkritik: su alcuni scritti di Jonas Cohn editi nei primi anni della Grande Guerra (1914-1916),
No full textDomenico Spinosa, The Question of Art between Philosophy of Values and Kulturkritik. On some Writings by Jonas Cohn published in the early Years of the Great War
(1914-1916)
This contribution proposal intends to reconstruct and then examine the reflections that Jonas Cohn elaborates in both the aesthetic spheres in the crucial time
span that goes from 1914 to 1916. As is well known, the Great War represents a
situation exceptional that causes a sort of interruption and traumatic bewilderment destined to profoundly change the neo-Kantian philosophical context and to
initiate from within it processes of revision of predominant themes and directions
already consolidated over time towards a considerable arrangement of new orientations. In this scenario, Cohn takes a position by recovering the theme dear to
him of aesthetics (in fact in 1901 – it is worth remembering – he was the author
of an Allgemeine Ästhetik which remains – it can be peacefully affirmed – the first
systematic work on the theme of the school of Baden) also and above all related to
issues related to the religious. Also for Cohn the foundational plane of reference
on which he argues these positions is that of the “critique of culture” to which the
author will also dedicate an important monograph as early as 1914. This will also
be an opportunity for the author to return to rethinking the notion of value in the
light of the changed historical-epochal situation that sanctions the decline of the
belle époque
Lo sguardo del cinema. Nota sull’ontologia dell’immagine filmica nel pensiero di Jean-Luc Nancy
No full textThe present essay seeks to analyze the reflections on cinematographic art proposed
by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami
(2001) as well as to other studies where the author reconsiders the concepts of image
and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite
character of existence-presence. Cinema addresses the world without any form of realism.
It is reality itself to open out to the image. What results is a possible gaze which is
no longer on representation and nor can it be a representative gaze. This gaze does not
look at any object; the very act of seeing can be seen through it
- …
