Benedetto Varchi and Averroism. The article examines the role played by Averroes and the Averroist tradition in Benedetto Varchi's philosophical works. The first part clarifies why Varchi defines Dante as an "Averroist" and reconstructs his ori-­ ginal reading of the first verse in Paradise. The second part argues that Varchi's plan to vernacularize philosophy, often interpreted as an attempt to "demo-­ cratize" knowledge, should not prevent us from recognizing that he emphasizes the moral and (...) intellectual differences existing among human beings. Though following Aristotle in saying that "all men by nature desire to know", Varchi shows no qualms in acknowledging that most of them cannot fulfil this desire and, referring to Averroes and Galen, claims that because of their complexio most people cannot understand phi-­ losophy. (shrink)

In this paper, I intend to explore the 16th century Italian work entitled Divisione della filosofia (1895) by the writer Benedetto Varchi, by reflecting on concepts raised and discussed throughout the history of philosophy, such as art and science, while making a thorough analysis of the text and the conceptions exposed by the historian. From a historical-philosophical point of view, I intend to investigate a varchian corpus from the Renaissance period, thus, I examine the statements and inferences of (...) the Florentine writer, in order to make explicit his vision concerning the division and hierarchization of the areas of theoretical and practical knowledge of Philosophy. I then conclude how the classification that summarizes more than two thousand years of notions coming from Greek, medieval and renaissance philosophies could help in the formulation of the functions of knowledge and how they relate to the practical life of individuals in the Renaissance period. (shrink)

ABSTRACTThis paper explores the impact of the philosophical structure of Leone Ebreo’s Dialoghi d’amore on the construction of Tullia d’Aragona’s Dialogo della infinità di amore. Analysing both the explicit references to and the indirect citations of Leone’s Dialoghi, I aim to demonstrate how the reinterpretation of some fundamental topics of this work – such as the re-evaluation of the sensual aspect of human love and the distinction between honest and vulgar love – lies at the heart of Tullia’s dialogue. The (...) article also intends to shed light on the complex role of Benedetto Varchi in the elaboration of these issues by d’Aragona, who for the final revision of her text could have relied – as she did for her poems – on his collaboration. (shrink)

Visa-se neste artigo definir conceitos e divisões da filosofia elaborados no período chamado Renascimento. Analisa-se obras de Gregor Reisch, Benedetto Varchi e Francisco de Toledo, entre outros, para entender termos centrais como “filosofia”, “ciência” e “arte” e suas relações hierárquicas. Mostra-se que usos desses termos eram significativamente diversos de usos contemporâneos, e o uso de fontes da época visa simplificar e erradicar noções posteriores que não são necessárias para estudos históricos, de modo que se possa explicar questões que (...) disciplinas contemporâneas não explicam. Visa-se também fornecer instrumentos conceituais para pesquisas históricas. (shrink)

Language, vernacular and philosophy -- Sperone Speroni between language and logic -- Benedetto Varchi and the idea of a vernacular logic (1540) -- Antonio Tridapale and the first vernacular logic (1547) -- Nicolo Massa's logic for natural philosophy (1549) -- Alessandro Piccolomini's instrument of philosophy (1551).

Cet article se propose d’analyser la notion d’exercice telle qu’elle est pensée dans les traités d’art maniéristes de la seconde moitié du XVIe siècle en Italie ; il procède à une reconstitution des théories de l’exercice ainsi qu’à une explicitation de leurs sources philosophiques (aristotélisme, néoplatonisme…). Pour les maniéristes, l’art est une disposition subjective qui s’acquiert par l’habitude ; la pratique du dessin est supposée apporter à l’artiste une aisance qui concerne autant sa dextérité manuelle que l’acuité de son jugement. (...) En acquérant un « jugement de l’œil », l’artiste doit apprendre à « savoir voir », afin de pouvoir adapter les règles générales aux situations particulières les plus complexes, comme l’homme prudent d’Aristote. Le dessin, en particulier, est l’occasion pour l’artiste d’affiner et d’enrichir son regard en corrigeant ses erreurs. La grâce, qui est une « facilità nella difficoltà » censée émanée de cette pratique assidue du dessin, implique en outre une forme d’authenticité par rapport à soi-même, l’artiste respectant et cultivant ses tendances naturelles et personnelles. C’est dans ce contexte, où l’art devient vertu et engage la vie entière de celui qui le pratique, que l’exercice du dessin devient un exercice de soi, par lequel l’artiste se forme, se questionne, se perfectionne. (shrink)

Cet article se propose d’analyser la notion d’exercice telle qu’elle est pensée dans les traités d’art maniéristes de la seconde moitié du XVIe siècle en Italie ; il procède à une reconstitution des théories de l’exercice ainsi qu’à une explicitation de leurs sources philosophiques. Pour les maniéristes, l’art est une disposition subjective qui s’acquiert par l’habitude ; la pratique du dessin est supposée apporter à l’artiste une aisance qui concerne autant sa dextérité manuelle que l’acuité de son jugement. En acquérant (...) un « jugement de l’œil », l’artiste doit apprendre à « savoir voir », afin de pouvoir adapter les règles générales aux situations particulières les plus complexes, comme l’homme prudent d’Aristote. Le dessin, en particulier, est l’occasion pour l’artiste d’affiner et d’enrichir son regard en corrigeant ses erreurs. La grâce, qui est une « facilità nella difficoltà » censée émanée de cette pratique assidue du dessin, implique en outre une forme d’authenticité par rapport à soi-même, l’artiste respectant et cultivant ses tendances naturelles et personnelles. C’est dans ce contexte, où l’art devient vertu et engage la vie entière de celui qui le pratique, que l’exercice du dessin devient un exercice de soi, par lequel l’artiste se forme, se questionne, se perfectionne. (shrink)

The Italian philosopher Benedetto Croce (1866-1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his "philosophy of the spirit" and he thus presents a systematic general theory (...) intended to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. This new translation of the first and most important part of the work (Theory) supersedes the defective translation by D. Ainslie, first published in 1909. It is based on the most recent Italian edition (1990). In his foreword the translator addresses the difficulties in translating certain key words in the Italian original, "scienza", "fantasia", and of course, "estetica" itself. He also furnishes the reader with helpful explanatory annotation. This publication will be of cardinal importance for all those interested in the philosophy of art, the history of criticism, and the history of linguistics. (shrink)

This essay examines the place of Sallust in Machiavelli's political theory. Such an examination is necessary and fruitful for two basic reasons. First, the interpretative and secondary literature on Machiavelli's classical sources has neglected, with very few exceptions, the influence and role Sallust may have played in the formulation of Machiavelli's thinking. Second, the essay argues that Sallust is important to Machiavelli's attempt to recover republican liberty. At the core of Machiavelli's project to discover 'new modes and orders' is the (...) fundamental Roman republican antithesis between libertas and dominatio. The very critique of dominatio presupposes a conception of libertas without which such a critique would be impossible. Sallust is a useful source for Machiavelli's inquiry into the political, social and military determinants foRA vivere libero e civile. Elements of such a political life are prefigured in Sallust's conception of republican politics, where 'cives cum civibus de virtute certabant' -- that is, where robust competition and healthy conflict express the virtus and the bonae artes of the body politic. In effect, Sallust is important to Machiavelli both as a historian who provides a useful critique of monarchy and despotism, and as a source through which Machiavelli is able to develop his conception of politics in general, and of republican politics in particular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 305-326 [Access article in PDF] Logos and Kratos: Gramsci and the Ancients on Hegemony Benedetto Fontana * The purpose of this paper is to locate Gramsci's concept of hegemony, and its related ideas of civil society, the national-popular and the people-nation, within the political thought of classical antiquity. 1 In so doing, the paper seeks to identify strands or elements (...) within aspects of ancient political thought which may usefully be seen as conceptual prefigurations or as political anticipations of Gramsci's hegemony. It will show that Gramsci shares with the ancients specific theoretical, linguistic, and intellectual topoi. Hegemony has hitherto been located within the context, both theoretical and historical, of debates and controversies arising out of the Marxist and later Leninist revolutionary tradition. It is rightly seen as a notion developed by Gramsci to explain revolutionary failure in Italy and in the West generally, and consequently its antecedents are traced to the problems attendant upon the collapse of the Second International and the rise of Bolshevism in Russia. 2 While such an approach has been useful in revealing the immediate (both political and tactical) constraints acting upon Gramsci's thinking, it has overlooked passages in his writings which reveal an interest in, and [End Page 305] familiarity with, philosophical and theoretical themes originally formulated and elaborated by classical political thought.I. In a note entitled "Passage from Knowing to Understanding and to Feeling and vice versa from Feeling to Understanding and to Knowing" Gramsci establishes a distinction between intellectuals who "know" and the "people-nation" that "feels." The former may know but do not always understand or feel, while the latter may feel but does not always know. The intellectual, in order to know something politically and socially, not merely abstractly or philosophically, must understand it with feeling and passion. As Gramsci writes: The intellectual's error consists in believing that one can know without understanding and even more without feeling and being impassioned (not only for knowledge in itself but also for the object of knowledge); in other words that the intellectual can be an intellectual (and not a pure pedant) if distinct and separate from the people-nation, that is, without feeling the elementary passions of the people, understanding them and therefore explaining and justifying them in the particular historical situation and connecting them dialectically to the laws of history and to a superior conception of the world, scientifically and coherently elaborated--i.e. knowledge. One cannot make politics-history without this passion, without this sentimental connection between intellectuals and people-nation. 3The merely abstract knowledge of the intellectual becomes life and politics when linked to the experiential and passionate feelings of the people. At the same time, the feeling-passion of the people acquires the character of knowledge. Of course such a formulation is reminiscent of Marx's comments in the Theses on Feuerbach. 4 The dyadic relation between intellectual and people-nation, and between knowledge and feeling-passion, both parallels and informs the relation between common sense and good sense. Common sense is opinion which is incoherent and ambiguous 5 but which may nevertheless contain elements of truth to the extent that they are proliferated throughout a people. Good sense, on the other hand, is the common sense of the people as their passion and experience are imbued with knowledge and reason--that is, as the people begin to "think" coherently by producing their own intellectuals, the organic intellectual, or the democratic philosopher. 6 [End Page 306]Gramsci recalls the problem originally posed by Plato and Aristotle and running through the entire history of Western political thought up to thinkers as diverse as Hegel, Nietzsche, Weber, and Croce: namely, the relation between knowledge and politics, philosophy and rhetoric, ruler and people, reason and desire/appetite. 7 This relation poses the question regarding the role and status of reason. It is the way reason (the logos as transcendent reason or as speech and language) is perceived that moves the theory in either an ossified (absolutist... (shrink)

Humans possess the ability to extract highly organized perceptual structures from sequences of temporal stimuli. For instance, we can organize specific rhythmical patterns into hierarchical, or metrical, systems. Despite the evidence of a fundamental influence of the motor system in achieving this skill, few studies have attempted to investigate the organization of our motor representation of rhythm. To this aim, we studied—in musicians and non-musicians—the ability to perceive and reproduce different rhythms. In a first experiment participants performed a temporal order-judgment (...) task, for rhythmical sequences presented via auditory or tactile modality. In a second experiment, they were asked to reproduce the same rhythmic sequences, while their tapping force and timing were recorded. We demonstrate that tapping force encodes the metrical aspect of the rhythm, and the strength of the coding correlates with the individual’s perceptual accuracy. We suggest that the similarity between perception and tapping-force organization indicates a common representation of rhythm, shared between the perceptual and motor systems. (shrink)

In this study we empirically map the field of media and communication studies by focusing on relationships between cognitive dimensions on the one hand and material dimensions on the other. Our analysis, which focuses on the field of MCS in Switzerland, identifies two clusters of research institutions representing distinct strands of research in the field. Results show how these two strands differ in terms of their resource base, institutional positioning and recognition, teaching and transfer activities, as well as activities of (...) scientific production. Similarities and differences in these dimensions serve to explain the general evolution of the field. (shrink)

Teaching and research are organised differently between subject domains: attempts to construct typologies of higher education institutions, however, often do not include quantitative indicators concerning subject mix which would allow systematic comparisons of large numbers of higher education institutions among different countries, as the availability of data for such indicators is limited. In this paper, we present an exploratory approach for the construction of such indicators. The database constructed in the AQUAMETH project, which includes also data disaggregated at the disciplinary (...) level, is explored with the aim of understanding patterns of subject mix. For six European countries, an exploratory and descriptive analysis of staff composition divided in four large domains (medical sciences, engineering and technology, natural sciences and social sciences and humanities) is performed, which leads to a classification distinguishing between specialist and generalist institutions. Among the latter, a further distinction is made based on the presence or absence of a medical department. Preliminary exploration of this classification and its comparison with other indicators show the influence of long term dynamics on the subject mix of individual higher education institutions, but also underline disciplinary differences, for example regarding student to staff ratios, as well as national patterns, for example regarding the number of PhD degrees per 100 undergraduate students. Despite its many limitations, this exploratory approach allows defining a classification of higher education institutions that accounts for a large share of differences between the analysed higher education institutions. (shrink)

Originally published in English in 1950 this is one of the most revealing works by one of Italy's foremost philosophers of the 20th century, who was also a courageous and effective opponent of Fascism. Following the Allied landing at Salerno, Croce was called upon by kings, princes, generals and politicians and asked to decide question of vital importance to Italy. This book records the notes Croce made on political matters in 1943 and 1944 and includes some of the many documents (...) Croce possessed which referred to the attempt in Naples to form a Corps of Italian volunteers. (shrink)

Keine ausführliche Beschreibung für "Antihistorismus" verfügbar.

In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text.

Gramsci saw Croce as a perfect representation of the división prevailin at that time between the two Italies: the official one, the Italy of the power groups, and the Italy of the masses.

The paper discusses the relation between philosophy and politics in the thought of Antonio Gramsci. It argues that the relation is adumbrated in Gramsci's concept of hegemony, which is simultaneously the politicization and the historicization of thought and knowledge. The concept of hegemony describes a reciprocal relation between the kaleidoscopic movement of historical reality (that is, relations of power) and the formulation and dissemination of moral and intellectual structures of thought (that is, modes of thinking and feeling).