Most contemporary approaches to meaning presume the limitation of semiotics (Didi-Huberman, Gumbrecht, Belting). The question of what kind of “semiotics” is required has not been asked. However, without some general science of meaning it is impossible to reform theory without committing past errors or ignoring progress. In the interest of reconnecting contemporary interests in “presence” to long-evolving needs, I review the ossification and decline of one theory of semiotics that serves as the tacit model rejected today. I return to problems (...) of the nature of the sign – whether it is “digital” or “analog” and conceived as “communication” or merely “meaning.” I then reconstitute a workable visual cognitive semiotics based on phenomenological premises. (shrink)

Il presente contributo indaga la trasformazione della definizione di “giustizia” da Tommaso d’Aquino (analogica) a Tommaso De Vio (univoca). Esaminando la connessione fra logica e filosofia morale si considera il tema della virtù e l‘interpretazione del pensiero dell’Angelico da parte del Gaetano. Si intende approfondire il rapporto fra la giustizia e il bene comune attraverso l’uso dell’analogia (Tommaso) o in altri termini (Gaetano). Il lavoro fa riferimento anche alla tesi di S. Hofstadter, secondo cui l’analogia è quasi un a (...) priori cognitivo con cui l’uomo concettualizza il mondo e progredisce nella conoscenza, tenendo presente il ruolo fondamentale che l’analogia svolge nella filosofia e nella teologia del Gaetano. Partendo dal presupposto che la nozione analogica di giustizia esprima più chiaramente il pensiero dell’Angelico sul rapporto con il bene comune, si osserva che il Gaetano fa uso di uno strumento diverso, interpretando la stessa virtù secondo una concettualizzazione di carattere univoco. E ciò, precisamente, per il suo modo di concepire l’analogia. Appaiono, quindi, due nozioni di giustizia in relazione al bene comune e a tutte le altre virtù morali. Come influisce tutto ciò sul discorso etico e sulla riflessione politica? Qual è il rapporto con la suprema potestas, il governo ecc.? Emergono chiaramente due diversi modi di argomentare e di rappresentare il mondo e le sue relazioni, cioè di costruire percorsi diversi sulla base dello stesso oggetto di studio. This paper investigates the definition of “justice” and its transformation, from Aquinas (analogical) to Cajetan (univocal). Through the commentaries of Cajetan to the S. Th., this contribution also deeps into the connection between Logic and Moral Philosophy. We intend to deepen the relationship between justice and the common good using the analogy (Aquinas) or not (Cajetan). This work also refers to the thesis of S. Hofstadter according to which the analogy is almost a cognitive a priori with which man conceptualizes the world and progresses in knowledge, bearing in mind the role that analogy played in Cajetan’s thought. If the analogical notion of justice renders much better the teaching of Aquinas, it is observed that Cajetan interpretates the same virtue according to univocity, because of his previous conception of the analogy. Therefore, we have two notions of “justice” related to the common good and the rest of the moral virtues. How could this affect the Ethics and the political reflections? What is the relationship between the suprema potestas, the government, etc.? Again, we have now two different ways of arguing and representing the world and its relations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:164 BOOK REVIEWS "was presented with wine in the name of the whole University." That evening, one of the feasters recalled that this was the man who had written the foremost theological defense of the Royal Supremacy: the following morning, when Gardiner asked for vessels and vestments to say Mass before proceeding on his way, they were refused him, as to an excommunicate or a schismatic. This incident is (...) significant for a number of reasons: it shows that, whatever anyone else might have thought, Gardiner certainly thought he was a Catholic. The ambiguity of that label, and how far exactly it extended, is also quite evident. Some explanation of the difficulty and some consistency of usage in the text of the biography would have been welcome. The text itself appears to have a number of editorial flaws: p. 201 begins in the middle of a paragraph, and the opening lines are omitted. In the second paragraph of p. 176, numbers are transposed so that what is printed as 1534 should read 1543 (in the context, a significant difference). The book is, on the whole, a contribution to scholarship that is long overdue. That a man who was so powerful (not to say feared) during his own lifetime should wallow in oblivion is confusing. Redworth 's biography, for all its incompleteness, is of great value in piecing together the life of this leader, both political and ecclesiastical, who sought to fashion the emerging English Church and nation into a recognizably Catholic form. Dominican House of Studie$ Washington, D.C. W. BECKET SOULE, 0.P. Art and the Word of God (Arte e la Parola di Dio): A Study of Angelico Rinaldo Zarlenga, O.P. Edited by VINCENT I. ZARLENGA, O.P. (text in English and Italian). River Forest, Illinois: Fra Angelico Art Foundation, 1990. Pp. xiv + 109. The religious order of the Dominicans (Order of Preachers) was founded in the thirteenth century by St. Dominic with the specific purpose of preaching the Gospel or " ministry of the Word." With the Franciscan Order it shared in the creative, artistic impulse that produced the medieval cathedrals. It is often said that the great Summa Theologiae of St. Thomas Aquinas, for all its intellectual rigor, is also a work of art comparable to the gothic masterpiece of Chartres cathedral. Dominicans and Franciscans thought that the Gospel should find expression not only in words, but in poetry, music, architecture, and BOOK REVIEWS 165 the plastic arts. Among the artists who were members of the Dominican Order are the recently beatified Fra Angelico (BL Giovanni da Fiesole ), Bartolommeo della Porta, an important influence on Raphael and other High Renaissance painters, Juan Mayno the gifted Spanish contemporary of El Greco, Pere Couturier, the advocate of modern church art and friend of Matisse, and the American sculptor, Thomas McGlynn. Carrying on this Dominican tradition, Angelico Rinaldo Zarlenga (1919-1986), a native of Italy, worked in the United States from 1949 until his death. The present work, edited by his brother Vincent, also a member of the Order, makes available a chronological catalogue of his paintings, sculptures, and designs in glass, with many illustrations in full color, along with a biography and critical appreciations by others, including Cardinals Joseph Bernadin and Mario Luigi Ciappi. It is an important contribution to the history of Catholic religious art in the United States. The noted German theologian Hans Urs von Balthasar built his whole theology not on the goodness and truth of God, but on His beauty, or in biblical terms, God's "glory." According to St. Thomas Aquinas, " beauty " is the " radiance of truth," that is, it is truth as truth is related well to our knowing powers. Like the fit between the key and the lock, beauty is the fit between known and the knower. That is why a landscape on a cloudy day looks dull and uninteresting, but when the sun comes out it appears strikingly beautiful. The sun's illumination has made the dim objects vividly visible, radiant to our eyes. This is what the artist does for us. He does not clothe the facts of reality with an adventitious beauty, but he illumines those facts so that... (shrink)

En 1990, Georges Didi-Huberman, filósofo e historiador del arte contemporáneo, anuncia que va a elaborar una «estética del síntoma». La expresión está cargada de consecuencias epistemológicas. Nos proponemos exponer aquí las claves de tal filosofía del arte y aclarar los problemas que plantea. ¿Cuáles son, según Didi-Huberman, los síntomas de las imágenes? Antes de responder a esta pregunta es preciso hacer un rodeo por el pensamiento crítico de Freud mostrando lo que es para él un síntoma y evocando sobre todo (...) la figura de la histeria. El concepto de síntoma, tomado en su acepción freudiana y reactualizado en los confines de la obra de arte, permite a Didi-Huberman hacer ver de qué forma compleja significaciones heterogéneas pueden resumirse, articularse en una imagen. Designa esta articulación de sentidos mediante la noción de síntoma, cuyo «pan» es una circunstancia particular. Retomando los análisis de Didi-Huberman sobre la pintura de Fra Angelico, mostramos todo el poder de los síntomas de la pintura y la apertura epistemológica que imponen a los teóricos del arte. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SUMMA CONTRA GENTILES III, CHAPTERS 131-135: A RARE GLIMPSE INTO THE HEART AS WELL AS THE MIND OF AQUINAS LAWRENCE B. PORTER Setoii Hall University South Orange, New Jersey Introduction BERNARDO GUI, Saint Thomas's thirteenth-century biographer, relates in his Legenda S. Thomae the story of how once upon a time Saint Thomas was seated at the table of King Louis IX of France. Far removed from mere dinner conversation, (...) the scholar was absorbed in profound rumination on no less a problem than the existence of evil. Suddenly in the midst of the meal Aquinas came to an insight and " he struck the table, exclaiming : ' That settles the Manichees! ' " 1 More than a century later Fra Angelico presents us with a comparable image of the saint though in an appreciably different setting, not a royal dinner table but a cloister walk. If the reader were to walk in the cloister garden of the priory of San Marco in Florence, he or she would eventually come upon a portrait of Saint Thomas painted by Fra Angelico (in the lunette above the door to the right of the entrance on the south side of the cloister). The saint stands erect facing the viewer, holding open upon his chest a book with the pages facing us so that we might read them. Saint Thomas is looking off into space, not distractedly but with concentration, with arched eyebrows and fixed gaze. It is as though he sees directly what we can only read about in the text of his open book. 1 " The Life Of Saint Thomas Aquinas by Bernard Gui," in The Life of St. Thomas Aquinas: Biographical Documents, trans. and ed. Kenelm Foster (London, 1959), pp. 44-45. 245 246 LAWREN CE B. PORTER The image of Saint Thomas presented in these hagiographic and iconographic traditions is distinctly that of an intellect-at one time engrossed in speculative thought, at another time in mystic contemplation-but it is always the mind that is foremost engaged. The image is always that of the intellectual genius entirely taken up with recondite or divine ideas, far removed from this-worldly concerns or domestic distractions. These images cannot be easily dismissed, nor indeed should we want to do such a thing, for there is much truth in these images. Certainly Thomas was at times a mystic, and his powers of abstraction and concentration were nothing less than extraordinary. His own writings are the best witness to this. The method displayed therein-the dispassionate objectivity, the unrelenting logic, the economy of expression, the precise and telling distinctions, not to mention his encyclopedic knowledge of scriptural, mystical, and philosophical sources-makes for the impression of an almost disembodied intellect at work. No wonder he was given the title "angelic doctor"! However, the problem with such images and titles is that they never allude to the fact that Saint Thomas also had a human heart and human feelings, and that these, too, could at times have had an effect upon his thinking, especially when his feelings had been hurt. To illustrate this thesis, I propose to examine the interplay between thought and emotion, history and analysis, in the Summa Contra Gentiles III, especially as concerns Chapters 131-135. Chapters 131-135 constitute a small treatise on religious poverty and as such appear as a peculiarly recondite consideration amid Aquinas's much more general treatment there of the themes of divine providence and human freedom. I believe this peculiar feature can only be understood in relation to an historical controversy of the times, namely, the attack upon the new mendicant orders by the secular clergy. Indeed, I believe the true nuances of this small treatise can best be understood when it is seen more as the heartfelt response of Aquinas to a slur upon his dignity rather than as his dispassionate or purely reasoned response to a contest of ideas. Aquinas was once personally embarrassed dur- SUMMA CONTRA GENTILES III 247 ing his professorship at the University of Paris when a student demonstration broke in upon a Sunday sermon of his with pamphlet literature that poked malicious fun at his considerable body size and privileged social status. And... (shrink)

"Ruskin was the most important aesthetic authority of the 19th century. In his dozens of books and lectures he wrote about the qualities of art. the key figure, the history that connected one to another. In The Stones of Venice, Modern Painters, Seven Lamps of Architecture he developed rules and standards that are amazingly contemporary in their range of sympathies. However, Ruskin wrote thousands of pages of criticism; for the modern reader his thought needs always to be rediscovered. This anthology (...) by Robert Herbert contains the essential thought of Ruskin on theory and practice (creativity, color, compositio, exhibiting workd of art), ("the nature of gothic," Venetian Renaissance, iron and glass as new materials for building), and sculpture and ornament (Greek, Byzantine, Medieval, and Renaissance). Herbert devotes his section on painting to Ruskin's remarks on Giotto, Fra Angelico, Botticelli, Michelangelo, the Venetians, Turner, the Pre-Raphaelites, and many others. Ruskin was full of contradictions and quirks, but he is the one 19th-century critic who gave the 20th century many of its most progressive thoughts on architecture, painting, and relationship of art to a social and moral context."--BOOK COVER. (shrink)

Qu'ont de commun Pascal et la peinture de La Tour? La théologie de Thomas d'Aquin et les fresques de Fra Angelico? La philosophie de Schelling et la musique de Liszt? La pensée de Diderot et les toiles de Fragonard, ou encore la phénoménologie de Maldiney et les sculptures de Giacometti? Et si œuvres d'art et œuvres philosophiques, dans leurs façons d'être au monde, tissaient de profondes correspondances, souvent même à l'insu de leur créateur? C'est la thèse de Philippe Grosos (...) qui revisite ici les grandes œuvres de la pensée humaine et les plus belles productions de l'art pour en dévoiler les liens les plus intimes et les intuitions communes. De telles correspondances, qui entendent mettre en évidence des gestes communs à l'élaboration de leurs œuvres, supposent alors que ce que nous nommons esthétique a bien davantage à voir avec l'existence qu'avec la seule œuvre d'art ou le jugement de goût. (shrink)

Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...) world of existence, like the world of images, chaos or cosmos? Erwin Panofsky's1 great merit consists in having understood that, in spite of its confused appearance, the world of images is an ordered world and that it is possible to do the history of art as the history of images. In order to do this, he had to begin, as indeed he did, with the demonstration that classical art, in spite of the deep-rooted theoretical certitude, is also an art of the image; its forms are nothing if not images to which one tries to attribute the consistency of concepts, with the sole result of the demonstrating that even concepts are images and that the intellect is still another sector or segment of the image. · 1. See, e.g., Erwin Panofsky, Meaning in the Visual Art: Papers in and on Art History ; Studies in Iconology: Humanistic Themes in the Art of the Renaissance ; Problems in Titian, Mostly Iconographic ; Idea: Ein Beitrag zur Begriffsgeshicte der älteren Kunsttheorie [Idea: a concept in art theory, trans. Joseph J. S. Peake ]. Giulio Carlo Argan, who has seriously influenced the course of art history and criticism in postwar Italy, is professor of modern art at the University of Rome. He has written on Fra Angelico, Botticelli, Borromini, Brunelleschi, and Gropius and three volumes of critical essays on modern art. His Skira volume on Baroque art, Europe of the Capitals, is his only major work published in English. "Ideology and Iconology" originally appeared in Italian in the journal Storia dell'arte, which he edits, and in Psicon. Rebecca West, translator of this article and assistant professor of Romance Languages and Literatures at the University of Chicago, presently is collaborating on a translation of Dario Fo's theater. She has translated "Narrative Structures and Literary History" by Cesare Segre, for the Winter 1976 issue of Critical Inquiry. (shrink)

The first published essay by V.N. Ilyin about the culture of the Italian Renaissance introduces readers to the Renaissance concept of the author and his more general historiosophical views. This vibrant emotional text, full of philosophical and theological inspirations, transfers the readers to fifteenthcentury Florence, to the very heart of the Renaissance flourishing under the Medici dynasty. Ilyn reflects on the masterpieces of Fra Beato Angelico, Filippo Lippi, Benozzo Gozzoli, and other outstanding representatives of the Quattrocento. In connection with (...) Florentine Renaissance history, the author raises such important issues as the continuity of Renaissance and medieval culture, the relationship between Christianity and paganism. The ideas expressed in this essay oppose the most influential Enlightenment view of the Renaissance as a period of a sharp break with the medieval worldview, an epoch of a shift from theocentric values to anthropocentric values, and the rebirth of paganism. Ilyin does not share the idea of a confrontation between medieval and Renaissance epochs, classic or Christian culture. His historiosophy is based on the idea of continuity. Constantly throughout the text, the author’s thought turns from the protagonist of the essay – Florence – to the history of his native Russian land from the epoch of John III to Soviet times. The philosopher reflects on the influence of Italian culture on the Russian world and on the historical gap caused by the Russian Revolution of 1917. The fate of his homeland is intertwined by Ilyin with far-magnificent Florence, which transforms in this essay into a metaphysical city, representing the ideal of beauty that saves and calls to spiritual transfiguration. (shrink)

The book offers a proposal on how to define truth in all its complexity, without reductionism, showing at the same time which questions a theory of truth has to answer and which questions, although related to truth, do not belong within the scope of such a theory. Just like any other theory, a theory of truth has its structure and limits. The semantic core of the position is that truth-ascriptions are pro-forms, i.e. natural language propositional variables. The book also offers (...) an explanation of the syntactic behaviour of truth-terms, and the pragmatic roles of truth-acts. The theory of truth we present is a technical proposal, relatively uncontaminated by radical philosophical discussion. It makes indeed philosophical points, but it is intended to be a conceptual analysis, as neutral as possible, of the aspects that may serve as a point of departure for more philosophically-laden destinations. Like the Fregean account of quantifiers, which is prior to and, to a large extent, independent of the metaphysical debate about existence and its forms, or the Kaplanian view on demonstratives, that is neutral regarding the debate about individuals and the possibilities we have to actually “reach” them in a referring act, we intend our proposal about truth to be a sophisticated and explicative setting that helps to situate other debates about truth accurately, far from the distorted and sometimes strongly ideological discussions that have turned the topic into a paradigm of philosophical impasse. (shrink)

The distinguished philosopher of language, Francois Recanati, has proposed a wide-ranging truth-conditional model of pragmatics. In this collection, various aspects of his theories are addressed by distinguished contributors, and are then commented on or answered by Recanati himself. This allows the reader to be drawn into the central debate within philosophy of language and cognitive science as to what kind of pragmatics system is needed.

The authors report the first Italian experience of a research ethics committee (REC) audit focused on the evaluation of the REC’s compliance with standard operating procedures, requirements in insurance coverage, informed consent, protection of privacy and confidentiality, predictable risks/harms, selection of subjects, withdrawal criteria and other issues, such as advertisement details and justification of placebo. The internal audit was conducted over a two-year period (March 2009–February 2011) divided into quarters to better value the influence of the new insurance coverage regulation (...) that came into effect in March 2010 (Ministerial Decree of 14 July, 2009) and expand the requirements to safeguard participants in clinical drug trials including other critical items as information and consent and the risks to benefits ratio. Out of a total of 639 REC’s opinions and research studies, 316 were reviewed. Regarding the insurance policy requirements, Auditor/REC non-compliance occurred only in one case. The highest number of Auditor/REC non-compliance was in regard to information and consent, which should have incurred a suspended decision rather than a favorable opinion. This internal audit shows the importance and the difficulty of the review process. For this reason, specific courses for members of the research ethics committee and for those who aspire to become auditors will be provided. There may also be efforts to improve the standard operating procedures already in place. (shrink)

Artikkelen tar utgangspunkt i den norske idrettsmodellen der topp og bredde hører sammen, og der toppidrettsutøvere uvegerlig blir rollemodeller for barn og unge. Den moderne toppidretten er i økende grad preget av egoistiske holdninger der det dreier seg hele tiden om å skaffe seg fordeler. I denne artikkelen tar jeg opp egoisme, rettferdighet og sjenerøsitet som tre grunnleggende holdninger i idrettskonkurranser og drøfter hvorvidt man med inspirasjon fra sjenerøsitetsidealer og praktiske eksempler kan tenke seg en toppidrett som i større grad (...) bygger på sjenerøsitet. Artikkelen starter med en kort presentasjon av den norske idrettsmodellen og jeg skisserer deretter tre kriterier som alle idrettskonkurranser må oppfylle: 1) spille for å vinne, 2) klare regler som følges, og 3) respekt for konkurrenter. Deretter presenterer jeg egoisme, fairness og sjenerøsitet som tre mulige grunnholdninger, og de implikasjonene de har i en idrettslig sammenheng. Etter en gjennomgang av den grunnleggende egoismen i dagens toppidrett, som infiserer ikke bare utøveren, men også hele systemet rundt utøveren, diskuteres muligheten for å utvikle holdninger basert på sjenerøsitet. Det nevnes tre kilder til inspirasjon; engelsk overklassesport, Nietzsches tanker om den overlegne mester, og Arne Næss' sportspraksis og hans saklighetslære for gode diskusjoner. Deretter presenteres empiriske eksempler på sjenerøsitet og hva en spillteoretisk analyse av ulike holdninger gir som resultat. Jeg konkluderer med at en endring i retning av sjenerøsitet vil gi en rikere toppidrett og et bedre grunnlag for en helhetlig idrettsmodell.Nøkkelord: etikk, idrett, egoisme, rettferdighet, sjenerøsitetEnglish summary: From egoism to generosity – can elite sport be reformed?The Norwegian sport model can be visualized as a pyramid with mass sport at the base and elite sport at the top. This means that elite athletes become role models for children and young athletes. However, modern elite sport is increasingly characterized by egoistic attitudes where the goal is to acquire advantages that the other athletes do not have. The article discusses egoism, fairness and generosity as three fundamental attitudes in sporting competitions and discusses whether it is possible to develop an elite sport that is based on generosity to a greater extent than now. The article starts with a presentation of the Norwegian sport model and then sketches three criteria that every sporting competition must fulfill, 1) play to win, 2) clear rules that must be complied with, 3) respect for fellow competitors and opponents. Then there is a delineation of egoism, fairness and generosity as three possible attitudes and the implications they have in the context of sport. Egoism seems to be the basic attitude in elite sport today and it infuses not only the athletes but the whole system around them. The article then looks into the possibilities for generosity in elite sport and draws inspiration from three quite different sources; 1) British upper-class sport in the 19th century, 2) Nietzsche's views of the superior and brilliant masters, and 3) the philosopher Arne Næss' sport philosophy and his rules for good academic debates. This is followed by empirical examples of generosity and a game theoretical illustration of the consequences of egoism and generosity. The conclusion is that a change in the direction of generosity will lead to a richer and more meaningful elite sport and provide a better basis for an organic sport model. (shrink)

Ledelse i autenticitetens tidsalder – Fra undertrykkelse til udtrykkelse.

Il graduale passaggio dall’antica “storia dei filoso” alla moderna “storia della filosofia” viene qui ricostruito nelle sue fasi essenziali, alla luce della dialettica fra tradizione e innovazione, che caratterizza il dialogo losoco inteso in senso diacronico. Ma in che senso è ancora possibile, oggi, parlare di una “storia della filosofia” distinta sia dall’attività losoco-ermeneutica sia dalla ricerca strettamente storica, qual è quella condotta dalla Intellectual history?

As relações entre homem e natureza,no pensamento medieval, podem ser examinadaspor diversos ângulos e por todos eles leva-se emconsideração a Deus, como criador. As posiçõesextremas do homem ante a natureza situam-seentre a contemplação e o domínio. Dois pensadoressão aqui examinados: Hugo de São Víctor ePetrarca.