L’essai analyse la structure de la philosophie politique de Fichte en l’inscrivant dans le contexte formé par les concepts politiques mis en place par la doctrine du droit naturel. De cette science, qui a pour éléments principaux les droits des individus, la souveraineté et la représentation, Fichte découvre la logique, qu’il poursuit jusqu’à son aporie constitutive. Dans la période de maturité de sa pensée, le philosophe paraît dépasser l’autosuffisance du droit naturel en direction d’une philosophie de la pratique, ce qui (...) semble conforme à l’évolution de la Doctrine de la Science.Duso’s essay focuses on Fichte’s political philosophy stressing its relation to the context of modern political concepts and their origin within the modern science of natural right. Fichte analyses its elements and thinks back over its logic, showing its aporetical core. In the years of his maturity Fichte seems to go beyond the self-sufficiency of natural rights theories towards a philosophy of practice more consonant with the developments of his Doctrine of the Science. (shrink)

Positive Psychology has recently attempted at “enlarging the paradigm,” explaining the understanding of the human experience of the world. By contrast, for Critical Psychology, “enlarging the paradigm” means moving away from an individualist conceptualization of the psychological. The present article aims at “redistributing the Psychological” toward directions already marked by cultural and discursive conceptions of human experience. Within a transdisciplinary frame, labeled as Psycho-semiotics, Diatextual Analysis has been adopted to investigate the rhetorical modes used by socially excluded enunciators (drug users, (...) immigrants, atypical workers, elderly people, and some categories of churchgoer) to elaborate their own experience of well-being through affective labor and self care. (shrink)

¿Es hoy aún posible pensar la creatividad sin el método, la invención sin la regla? La historia nos enseña que el arte es siempre inevitablemente tanto fantasía como disciplina, tanto creatividad como técnica, tanto genialidad como orden, y allí donde prevalece sólo uno de los dos momentos la creación artística corre siempre el riesgo de degenerar o en un mero delirio creativo sin resultados concretos o en un exasperante formalismo sin inspiración. De las reflexiones barrocas de Baltasar Gracián y de (...) Giambattista Vico nos viene la invitación a concebir la creatividad como ingenio, por lo tanto, a entender la creatividad como la capacidad de captar relaciones inéditas entre las cosas, las ideas o las palabras, o de formular intuiciones imprevisibles e imprevistas para los esquemas de pensamiento habituales o tradicionales, aunque reelaborando y conectando originalmente materiales ya dados. Este diverso modelo de creatividad, un modelo especialmente barroco, trata así de evitar el doble peligro de la exasperación fantástica, por un lado, y de la mortificación creativa, por el otro. Descubrir y profundizar la relación entre creatividad e ingenio, así como fue elaborado por Gracián y por Vico, puede entonces contribuir a arrojar nueva luz sobre la noción misma de creatividad, enriqueciéndola siempre con nuevos y más amplios significados.Palabras clave: creatividad, ingenio, Gracián, Vico. Is it still possible to think about creativity without method, or invention without rule? We can learn from history that art is always, unavoidably, a matter of fantasy as well as of discipline, of creativity as well as of technique, of geniality as well as of order; and that wherever only one of those moments prevails, artistic creation runs the risk of degenerating into mere creative delirium, with no concrete results, or in exasperating formalism, deprived of any inspiration. Baroque reflections of Baltasar Gracian and Giambattista Vico invite us to understand creativity as inventiveness, namely the capacity to grasp unprecedented links between things, ideas or words, or to formulate intuitions that were unpredictable and unpredicted for the traditional schemes of convencional or traditional thought, even if re-elaborated, and connecting well known materials in an original way. It is the aim of this particularly baroque model of creativity to avoid the double danger of fantastic exasperation, on the one hand, and creative mortification, on the other. Discovering and considering the relationship between creativity and inventiveness, as Gracian and Vico devised them, could therefore throw some light on the very notion of creativity, enriching it with new and broader meanings.Keywords: creativity, inventiveness, Gracian, Vico. (shrink)