The present article is on the linguistic characteristics of a corpus of letters sent to the television broadcast Buona Domenica, transmitted between 1980 and 1995 by RTL Luxembourg. This corpus contains 600 letters sent to the editorial staff by Italians or other nationalities interested in the Italian language and culture, residing in Luxembourg or in the neighbouring countries: Belgium, France and Germany (the Great Region). The vivacity and spontaneity of theses letters presents us a period of time that (...) precedes the globalization of the mass media and is not so far from our present time. Each letter chosen for this article highlights especially the relationship that bound emigrants to the autochthonous language and to the memory of their mother tongue, almost always a dialect. (shrink)

A Confederacy of Dunces (Confederacy) by John Kennedy Toole portrays an interplay between competing definitions of humanism. The one school of humanism—called by some the Modernist Paradigm—saw the Italian Renaissance as the origin of nineteenth- and twentieth-century modernist views that celebrated science, technology, and individual human freedom. The other school, led by Paul Oskar Kristeller, sought to historicize humanism by establishing that Renaissance writers and thinkers were generally conservative and preserved the philosophical ideas of the medieval era. Kristeller was (...) the President of the Renaissance Society of America and was at the height of his influence at Columbia University during the late 1950s, when Toole studied for his Master’s degree there. The main character in Confederacy, Ignatius J. Reilly, presents a parody of Kristeller’s position, which he uses to critique modern society. Ignatius also plays the part of a child of the planetary god Saturn, both by acting out the ancient astrological tradition of associating Saturn with misfortune and disorder and by being a parody of the Renaissance concept of the Genius as a Child of Saturn begun by the Renaissance philosopher whom Kristeller studied most, Marsilio Ficino. Ignatius’s worldview is an antithesis of the Modernist Paradigm. Confederacy is critical of both Modernist humanism with its attendant materialism and its antithesis—Ignatius’s dysfunctional version of Kristeller’s Renaissance philosophy. When the community expels Ignatius as a scapegoat, Toole appears to gesture toward a dialectical synthesis of the two concepts of humanism in the novel’s happy ending. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Lost Italian Renaissance: Humanists, Historians, and Latin’s LegacyPaul Richard BlumChristopher S. Celenza. The Lost Italian Renaissance: Humanists, Historians, and Latin’s Legacy. Baltimore: The Johns Hopkins University Press, 2004. Pp. xx + 210. Cloth, $45.00This is a programmatic book about why and how philosophy should care about Renaissance texts. Celenza starts with an assessment of the neglect of the wealth of Latin Renaissance [End Page 485] (...) sources by nineteenth-century historiography, followed by portraits of two prototypal twentieth-century historians and their philosophical approach. He proposes a method of study for Renaissance thinkers and exemplifies it with two key figures and with the concept of honor. A survey of the field of study and an appendix concerning Renaissance research in the US conclude the book."The Renaissance" as a field of research between the Middle Ages and what is now cowardly called "Early Modern" became legitimate through the awakening of national consciousness in the nineteenth century. Consequently, the emphasis lay on vernacular language works in Italy and elsewhere. Latin Renaissance literature never was worthy of Grossforschung, i.e., of national projects like the academy enterprises concerning world history or classical studies, even though classical philology originated in the humanists' emulation of the ancients. This however would be absorbed by the nineteenth-century idea of national character (12).Italian Hegelianism of the nineteenth and early-twentieth century included Renaissance philosophy in the evolution of national spirit, and the late Eugenio Garin as its pupil spent his scholarly life portraying with astounding precision and detail Italian Humanism and Renaissance as a dialectic and rational development. Equally diligent was the German born Paul Oskar Kristeller, clinging, however, to a very different understanding of philosophy, which Celenza describes as rationalist in the Kantian and metaphysical in the Platonico-Aristotelian tradition (41). Here the author underestimates the influence of Heidegger on Kristeller: his dissertation was clearly an interpretation of Plotinus in the light of existentialism, which still transpires in his famous Ficino book and many later philosophical statements. The problem with both approaches, that of Garin and that of Kristeller, is that those philosophers who ignore history (deliberately or incidentally) and those who lost an understanding of metaphysics do not know how to read Renaissance thinkers.'Microhistory' is the formula Celenza proposes: Richard Rorty's abolishing the notion of 'representing' reality in favor of evocation and conversation—both for the interpretation of the past and the past itself—and Pierre Bourdieux's notions of 'field' and 'relational thinking' open the possibility of locating past thinkers in their community and, consequently, the meaning of their philosophical endeavor. What Celenza exercised with Garin and Kristeller applies also to Renaissance authors. Under the heading 'Orthodoxy,' Celenza shows that it is unfortunate to censure Lorenzo Valla (+ 1457) or Marsilio Ficino (+ 1499) as being unorthodox or as precursors to the Reformation, because this perspective misses the point of their lives' work—namely, to find out what makes Christian beliefs and their sources Christian. Valla's discoveries in Greek and Latin philology and Ficino's experiments with magic are part of their scrutiny of orthopraxy (my term), the right way of Christian life, and are embedded in their conversations with friend and foe, who in some cases still await discovery. The far-reaching message of these two samples is: reading their work and studying their conversations is the way to study philosophy in the fifteenth century.The same is proven by engaging in social concepts such as 'honor.' Starting with a surprising appreciation of gender studies, Celenza suggests taking a look at intellectual masculinity among courtiers and writers. Then it turns out that Machiavelli bequeathed to modernity—perhaps as a caricature—the structure of struggle for power, ideas, and provision in which humanists were engaged, being the first large generation of intellectuals outside the safe haven of cathedrals and convents."What is really there?" is the concluding question. A new canon, the prelude to early modern sociology of scholarship, and models of—presently highly acclaimed—contextualization of intellectual productivity. Returning to the Latinity of Renaissance sources Celenza shows that even the emergence of vernacular literature, which bewitched nationalist historiography, was by itself a fruit... (shrink)

This article aims to introduce E.V. Ilyenkov’s ‘Dialectics of the Ideal’, first published in unabridged form in 2009, to an English-speaking readership. It does this in three ways: First, it contextualises his intervention in the history of Soviet and post-Soviet philosophy, offering a window into the subterranean tradition of creative theory that existed on the margins and in opposition to official Diamat. It explains what distinguishes Ilyenkov’s philosophy from the crude materialism of Diamat, and examines his relationship to four central (...) figures from the pre-Diamat period: Deborin, Lukács, Vygotsky, and Lenin. Second, it situates his concept of the ideal in relation to the history of Western philosophy, noting Ilyenkov’s original reading of Marx through both Hegel and Spinoza, his criticism of Western theorists who identify the ideal with language, and his effort to articulate an anti-dualist conception of subjectivity. Third, it examines Ilyenkov’s reception in the West, previous efforts to publish his work in the West, including the so-called ‘Italian Affair’, as well as existing scholarship on Ilyenkov in English. (shrink)

The use of more than one language in a literary text is called literary multilingualism. Ricci's trilogy presents this linguistic phenomenon as the author uses more than one linguistic code in the same text: English, Italian, and dialect. This work describes how code-switching becomes an important device of mimesis, representing not just a switching in language, but also a switch in culture, style, and in voice. This study demonstrates how Ricci exploited his linguistic richness on a literary (...) level creating novels that present the Italian world in a realistic way, but at the same time making use of linguistic varieties as literary device. (shrink)

Aphasia is a complex disorder, frequent after stroke (with an incidence of 38%), with a detailed pathophysiological characterization. Effective approaches are crucial for devising an efficient rehabilitative strategy, in order to address the everyday life and professional disability. Several rehabilitative procedures are based on psycholinguistic, cognitive, psychosocial or pragmatic approaches, including amongst those with a neurobehavioral approach the Melodic Intonation Therapy (MIT). Van Eeckhout’s adaptation of MIT to French language (Melodic-Rhythmic Therapy: MRT) has implemented the training strategy by adding (...) a rhythmic structure reproducing French prosody. The purpose of this study was to adapt MRT rehabilitation procedures to Italian language and to verify its efficacy in a group of six chronic patients (five males) with severe non-fluent aphasia and without specific aphasic treatments during the previous 9 months. The patients were treated 4 days a week for 16 weeks, with sessions of 30–40 min. They were assessed 6 months after the end of the treatment (follow-up). The patients showed a significant improvement at the Aachener Aphasie Test (AAT) in different fields of spontaneous speech, with superimposable results at the follow-up. Albeit preliminary, these findings support the use of MRT in the rehabilitation after stroke. Specifically, MRT seems to benefit from its stronger structure than the available stimulation-facilitation procedures and allows a better quantification of the rehabilitation efficacy. (shrink)

What is alike between aesthetic and linguistic? And what is basically unlike? This paper focuses on this ambiguous relation in order to point out how the aesthetic expressiveness is an original one. And it's from the point of view of the dialectical nexus between aesthetic experience and language that interesting suggestions are drawn here from different authors (Adorno, Borges and the Italian novelist Luigi Meneghello).

Thirty-four years have passed since the Discorso de recepcion of the then young Arabist, don Miguel Asin Palacios, was presented in the Spanish Academy; and I still recall the impression of astonishment, admiration and almost alarm which the first reading of the Escatologia musulmana en la Divina Comedia aroused in my father, one of the first to spread the ideas of Asin in Italy—such was the impact of the novelty, the audacity, and the wide range of his thesis and his (...) conclusions. I vaguely recall the discordant voices of both Orientalist and Dante criticism in the heated atmosphere of the centennial celebrations of 1921, the enthusiasm of the neophytes, the scandalised consternation of the idolators, and the profound echo of agreement and disagreement which Asin's book aroused, as surely no other publication of the centenary. Then, everywhere to some extent but above all in Italy, the voices of dissent prevailed, from those of the more or less reasoning and reasonable disbelievers to those of the early believers whose faith began to vacillate, as was the case of my father. Asin answered these, with lively and often cogent dialectic, in his Historia y critica de una polemica. Then the dispute languished and expired, leaving on both sides, as usually happens in these cases, a whole series of misunderstandings which had not been clarified. Among Asin's non-Orientalist critics—even among the most learned of them, and perhaps in the very measure of their learning—the initial prejudice against that strange world remained invincible: that world aberrant in language, custom, place, and civilisation, which the erudite Spaniard had brought into abrupt contact with the Christian-Latin world, the only background against which the figure of Dante had customarily been seen. On the other hand, the conviction was firmly planted in Asin's mind that the opposition to his theory, especially from the Italian point of view, was moved not only (as was indeed quite true) by mental laziness, by horror novi, by intellectual vitalde in the face of the bitter new truth he proposed, but also and above all, by cultural nationalism, by the set purpose of defending at any price a national glory whose originality and hitherto unquestioned greatness had been disparaged. He had been at pains to point out at the end of his book that the poetic glory of Dante was in no way compromised by the close, continuous, and fundamental dependence which he believed he had found between Dante's vision of the other world and Islamic eschatology; even so, Italian pride in the absolute originality of the sacred poem had been hurt, and this, Asin thought, more than any other motive, had inspired the Italian reaction. (shrink)

This book does not only attempt to clarify concepts used in the context of dialectical reasoning but also develops an epistemological theory by answering the question: What does it mean to possess a language? The epistemological theory then is used to ground the basis of social science in the logic of our common-sense language. This logic is viewed as more comprehensive than traditional formalized logic, which is viewed as only one though an important aspect of the more general (...) and basic logic of our common-sense language. (shrink)

First language attrition in adulthood offers new insight on neuroplasticity and the role of language experience in shaping neurocognitive responses to language. Attriters are multilinguals for whom advancing L2 proficiency comes at the cost of the L1, as they experience a shift in exposure and dominance. To date, the neurocognitive mechanisms underlying L1 attrition are largely unexplored. Using event-related potentials, we examined L1-Italian grammatical processing in 24 attriters and 30 Italian native-controls. We assessed whether attriters (...) differed from non-attriting native speakers in their online detection and re-analysis/repair of number agreement violations, and whether differences in processing were modulated by L1-proficiency. To test both local and non-local agreement violations, we manipulated agreement between three inflected constituents and examined ERP responses on two of these. Our findings revealed group differences in amplitude, scalp distribution, and duration of LAN/N400 + P600 effects. We discuss these differences as reflecting influence of attriters’ L2-English, as well as shallower online sentence repair processes than in non-attriting native speakers. ERP responses were also predicted by L1-Italian proficiency scores, with smaller N400/P600 amplitudes in lower proficiency individuals. Proficiency only modulated P600 amplitude between 650 and 900 ms, whereas the late P600 depended on group membership and amount of L1 exposure within attriters. Our study is the first to show qualitative and quantitative differences in ERP responses in attriters compared to non-attriting native speakers. Our results also emphasize that proficiency predicts language processing profiles, even in native-speakers, and that the P600 should not be considered a monolithic component. (shrink)

The endeavor of this bibliographical guide is inscribed in the broader effort to reframe the discipline of Philosophy in a global perspective through the account of its history. With the present work readers will gain a broad overview of the materials available in Italian on the histories of philosophy in different regions of the world from the first editions, in the 15th century, to the present. Some of these materials are presented in the extensive introduction to the bibliography, which (...) has been organized according to geographical regions, such as continents and nations, as well as thematic focuses, such as religions, doctrines, or disciplines. Moreover, the introduction discusses two main themes, namely the strong historiographical tradition in Italy and its close connection with political agendas, and the influence of the history of philosophy in the schools. One outcome of the work is the mapping of leading research areas as well as neglected areas, and even the uncovering of some blind spots. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 66.4 (2005) 541-556 [Access article in PDF] Historical Priorities Nancy S. Struever Johns Hopkins University One of the morals of Christopher Celenza's excellent The Lost Italian Renaissance is, simply, that an impoverished sense of philosophy delivers an impoverished history of philosophy. Salvatore Camporeale's enriched sense of philosophy, responsive to his strong positions on philosophy of religion, invests his brilliant work on Lorenzo (...) Valla; the work marks a historiographical advance, for the innovative account of Valla makes a new case for the seriousness, intrinsic merit of humanistic thought of the fifteenth century.I will argue that Camporeale's early focus in Umanesimo e teologia on Valla's rhetorical investments is crucial to his later accounts of Valla's strong contributions to Renaissance thought. Here Camporeale's devotion to the task of defining a "rhetorical theology" or a "humanistic theology" is an exemplary instance of a much broader initiative in intellectual history: an initiative that exploits the very rich resources of the rhetorical tradition for considering, and contesting, the positions of traditional philosophy.In the same work, Celenza raises another pertinent, major issue when he contends that a history of serious inquiry requires a pragmatic sense of inquiry as both responsive to and intrusive in surrounding dispositions and actions; it must give an account of what a mode of inquiry does, in time—its applications and its failures—misfires.1 Celenza proposes a combination of social and intellectual historical methods, thus developing a sense of intellectual communities and their allegiances and contests: focusing, for example, on the constraints of orthodoxy and the temptations of honor.Celenza's historiographical survey gives a wonderfully detailed context for Camporeale's work. While Camporeale rarely indulged in programmatic statements, a pragmatic bent, a basic pragmatic allegiance informs both the topics and procedures of his account of Renaissance classicism. I suggest an analogue: just as modern intellectual history adds pragmatic value to "internalist" history of philosophy, so rhetoric encases, motivates the vital philosophical [End Page 541] critique Camporeale finds in Valla. The investigative "agency" of humanist rhetorical philologues co-opts the activity of modern intellectual historians in focusing on response, effect, appropriatenesss, and application. The opposition—"history of philosophy/intellectual history"—gains new life in the discussions of Renaissance humanism. For the philosopher, it is the distressing case that the intellectual historian is not so much too little disciplined in philosophy as too humanistic, too engaged with moral-aesthetic affect.I would contend that Camporeale's pragmatic historical effort represents another degree of interest: it is itself ambitious as serious inquiry in that it takes its place in a historical chain of classical replications: the originary Hellenic stipulation of rhetoric as the "practical" dialogic partner of "pure" philosophy; the humanist retrieval of classsical rhetorical pragmatic aspirations and techniques; and Camporeale's retrieval of the retrieval. In his use of humanist rhetorical hermeneutic as strategy in his reformist philosophy of religion, his practice is making a case for the case the humanists made.And, as I have argued earlier, there is a sense in which Camporeale's is a retrieval of an earlier twentieth-century retrieval. Camporeale's narrative of Renaissance rhetorical innovation and inclusion fits with a particular twentieth-century narrative that revises the standard history of Hellenic thought to reorder the historical relations of rhetoric, logic, and dialectic.2 Thus, in the Summer Semester 1924 lectures, "Die Grundbegriffe der aristotelischen Philosophie," Martin Heidegger employs Aristotle's Rhetoric to gloss the major philosophical texts of metaphysics, physics, politics, and ethics. Heidegger hypothesizes an "original argument" as transpiring within the political discourse of the courts, assemblies, and the oratory of the games; and, the original discipline that studied and regulated this discourse was rhetoric. With the Aristotelian definition of man as the political animal possessing language, with language as the mode of political capacity and action, rhetoric becomes Heidegger's "first fundamental hermeneutic of the dailyness (timefullness) of living together."3 Rhetoric illumined the domain of Dasein, of being-in-the-world, of historically specific existence. Heidegger claimed this Hellenic rhetoric functioned entirely within... (shrink)

This dissertation explores how antiquity and some of its early modern admirers understand the notion of certainty, especially as it is theorized in Quintilian's Institutio Oratoria, a first-century educational manual for the aspiring orator that defines certainty in terms of consensus. As part of a larger discussion of argumentative strategies, Quintilian turns to the “nature of all arguments,” which he defines as “reasoning which lends credence to what is doubtful by means of what is certain” (ratio per ea quae certa (...) sunt fidem dubiis adferens: quae natura est omnium argumentorum, V.10.8). These certainties, he later specifies, include not matters of scientific demonstration or objective fact, but the agreements of various communities: the laws of cities, local customs, and other forms of consensus. As the foundation of persuasive rhetoric, these consensus-based certainties situate argumentation as the practice of crafting agreements rather than demonstrating necessary conclusions. Taking as its point of departure Quintilian's novel understanding of certainty, this study looks to some of Quintilian's intellectual forebears as well as his later readers to show how his work is both a nexus of earlier intellectual developments as well as an important inspiration for later accounts of certainty, even into the early modern period. After illustrating in the first chapters of this dissertation how Quintilian's manual incorporates elements from Aristotelian notions of dialectic and rhetoric as well as from Ciceronian skeptical approaches to epistemology, I show how Quintilian's curriculum for the orator shapes the thought of Italian humanists, especially that of Lorenzo Valla (1406–1457), a reformer of scholastic logic and dialectic, and Giambattista Vico (1668–1744), an influential Neapolitan jurist. Adopting Quintilian's rendering of certainty as a matter of agreements and conventions, these later authors elaborate their own novel approaches to various fields—including law, language, and logic—through this ancient understanding of certum. Contrary to modern notions of certainty as objective or scientific fact, Quintilian's humanist readers continue to root this concept in consensus, both within the courtroom and without. (shrink)

In the middle of the sixteenth century, Bernardo Segni (Florence, 1504 – Florence, 1588) published some Italian translations with commentaries on some works of Aristotle. He was not a scholar nor did he have a university affiliation nor could he boast a deep knowledge of Greek language, but he worked in the cultural climate of Duke of the Florentine Republic Cosimo I (Florence, 1519 – Florence, 1574) and of the Florentine Academy, whose aim was to raise the cultural (...) centrality of Florence and its dialect. In this paper I analyze some passages of his translation and commentary on Aristotle’s Ethica Nicomachea (Florence 1550; reprint Venice 1551). Through this examination some characteristics of the author’s work emerge, such as his didactic purposes, which may be related to the type of his audience, his (poor) knowledge of classical authors and sources, and his tendency towards continuous dialogue with the present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

The article deals with three patterns for interpretation of language in its relation to the cultural hegemony, i.e. Gramscian, Voloshinian, and Pasolinian. As was shown, the analysis of the language problem is the necessary precondition for justifying the unity of theoretical and practical elements within Marxist philosophy. A common feature for the aforementioned patterns was an attempt to answer a fundamental question: how it is possible to make explicit the relationship between ideology and relations of production by means (...) of the materialist dialectics. A refusal to fetishize language as a particular essence, a revealing that any sign systems are mediated by ideologies, and elaboration of a nonSaussurian structure of language are the core results of the proposed analysis. The starting point for the reflections of the mentioned thinkers was a tenet that communication in the state is determined by how much the institutions of power are able to bring the interests of society under control without disturbing the balance between the political body and the existing social forces. Thus, an ideology plays in two guises: as a symbolic order of legitimation on the society’s part and as a framing the growth of cultural forms. A distinction between the written and the spoken language becomes a politically significant tool to undermine the hegemony, for a balance between the political and the social, between the coercion and the approval, is widely open to fluctuations. Hence is the problem Marxist theorists have tried to solve: how can it be found out, with an examination of statements in non-political contexts, what someone talks of is a part of her political interest. The Marxist thinkers solved it in various ways. For instance, Gramsci focused himself on the reasons of making of the Italian literary canon; Voloshinov considered the proposition that in linguistics a formalism, as well as psychologism, following from a claim that semantics and means of expression are politically independent; and Pasolini sketched the difference between the spoken language, the spoken-written language, and the purely oral language, with unequal subjects of them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Fool’s Truth: Diderot, Goethe, and HegelJames SchmidtI. Of the many works that crossed from France into Germany during the “long” eighteenth century, none took as circuitous a route as Rameau’s Nephew. Begun by Diderot in 1761 but never published during his lifetime, the dialogue was among the works sent to Catherine the Great after his death in 1784. A copy of the manuscript was brought to Jena late (...) in 1804, where it was read by Schiller and passed on to Goethe, who immediately set about translating it into German. Goethe’s translation was published in the Spring of 1805 but, as Goethe later complained, made little impact on the German reading public. 1 There was, however, one notable exception: Georg Wilhelm Friedrich Hegel.Hegel’s interpretation of Diderot’s dialogue in his 1807 Phenomenology of Spirit has long been an topic of considerable interest. Marxists—and, for that matter, Marx himself—have regarded the Phenomenology’s discussion of Diderot as illustrative of Hegel’s interest in the social and economic foundations of modern society. 2 For Lionel Trilling, it marked an important step in the genesis of the modern ideal of “authenticity.” 3 More recently, the tensions between Diderot’s “dialogizing” of the Enlightenment and the [End Page 625] Hegelian dialectic have been explored by a number of commentators. 4 Less attention, however, has been paid to the fact that the words Hegel appropriated were not, strictly speaking, Diderot’s, but rather came from Goethe’s translation. 5 Before Rameau’s Nephew could appear in the pages of Hegel’s Phenomenology, it first passed into German in a translation that, no less than Hegel, inserted the text into a rather different context from the one in which it had originated.A consideration of Hegel’s appropriation of Rameau’s Nephew thus involves us in questions about the transporting, translating, and transposing of works across borders, languages, and genres. I will begin by examining briefly how Goethe went about presenting an eighteenth century French text to a nineteenth-century German audience. I will then explore, at greater length, how Hegel went about situating this most peculiar of dialogues into his most baffling of books. Finally, I will reflect on some of the tensions between what Diderot wrote and what Hegel attempted to do with it.II. “Now, think of a city like Paris,” Goethe told Eckermann, bemoaning the “isolated, miserable sort of life” to which German intellectuals had been condemned. In Paris one could find “all of the leading minds of a great kingdom all together at the same spot, mutually instructing and advancing one another through daily contact, conflict, and rivalry.” The leading German intellectuals, in contrast, were scattered about: “There is one in Vienna, another in Berlin, another in Königsberg, another in Bonn or Düsseldorf, all fifty to a hundred miles away from each other, so that personal contact and personal exchange of ideas count as rare events.” In Paris “the best from the realms of nature and art from throughout the world lies open for daily inspection,” while “every passage over a bridge or a square recalls a mighty past” and “every street corner has evolved into a piece of history.” It was a city where “men such as Molière, Voltaire, Diderot, and the like have kept up a current of intellect such as has not been found in a single spot anywhere else in the entire world.” 6 Weimar, quite clearly, was not Paris.Rameau’s Nephew was so thoroughly a creature of Paris that the mere thought of rendering it into German might have dismayed a weaker soul than Goethe. Moi and Lui begin a conversation at the Café de la Régence that will [End Page 626] lead them from discussions of the contest between French and Italian styles in music to a consideration of the prospects for human autonomy. In between they will pass over such matters as the social utility of geniuses, the tension between aesthetics and morality, the proper upbringing of children, and the structure of social dependency, pausing from time to time as Lui loses himself in increasingly wilder pantomimes. Along the way... (shrink)

The thirteenth-century logician Lambert of Auxerre was well known for his Summa Lamberti, or simply Logica, written in the mid-1250s, which became an authoritative textbook on logic in the Western tradition. Our knowledge of medieval logic comes in great part from Lambert's Logica and three other texts: William of Sherwood's Introductiones in logicam, Peter of Spain's Tractatus, and Roger Bacon's Summulae dialectics. Of the four, Lambert's work is the best example of question-summas that proceed principally by asking and answering questions (...) on the subject matter. Thomas S. Maloney's translation of Logica, the only complete translation of this work in any language, is a milestone in the study of medieval logic. More than simply a translation, Maloney's project is a critical, comprehensive study of Lambert's logic situated in the context of his contemporaries and predecessors. As such, it offers a wealth of annotation and commentary. The lengthy introduction and extensive notes to the text explain the origin, theoretical context, and intricacies of the text and its doctrines. Maloney also addresses the disputed issues of authorship, date, and place of publication of the Summa Lamberti and makes available to the English-only audience the French, German, and Italian secondary sources--all translated--that are needed to enter the discussion. "Thomas S. Maloney fully commands the primary and secondary sources necessary to elucidate Lambert's Logica. An expert on Roger Bacon's philosophy, he demonstrates a rare proficiency in medieval Latin and scholastic logic. His references to sources from the ancient (Aristotle and Boethius) and medieval worlds are apposite, perspicuous, and useful. The volume's presentation with an appropriate introduction and commentary in the endnotes will no doubt establish it as an indispensable resource for scholars in the twenty-first century." --Alan Perreiah, University of Kentucky. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

In 1626, the Neapolitan Ottavio Sammarco published the Discorso politico intorno la conseruatione della pace dell'Italia in which the author referred to the King of Spain as arbiter among the Italian princes and his ministers in Italy as efficient instruments to ensure the stability. This piece of political literature shows an explicit practical orientation, through which the author carries out a systematisation of the political means to achieve quietness in Italy. In articulating the praxis into formal language, Sammarco (...) looks to the past searching for the wisdom of History and uses Tacitus’ account to build a discourse around the tools and mechanisms for preserving stability and avoiding conflicts. The aim of this article, in the first instance, is to examine Sammarco's discursive programme and the purpose of his discourse; in the second place, how Tacitus serves the author's aim and how his account means a fundamental anchor. Furthermore, it will be useful to trace how the political language that transforms the continuous threat of war into politics is modelled by 1626 in Italy and how Sammarco contextualizes his political vocabulary within the Spanish Monarchy political dialectic at the beginning of XVII century. (shrink)

Art, Language and Figure in Merleau-Ponty: Excursions in Hyper-Dialectic considers Merleau-Ponty's later ontology of language in the light of his "figured philosophy," which places the work of art at the centre of its investigation. Kaushik argues that, since for Merleau-Ponty the work of art actualizes a sensible ontology that would otherwise be invisible to the history of dialectics, it undermines the fundamental difference between being and linguistic structures. Art, Language and Figure in Merleau-Ponty takes up the radical (...) task of the figured philosophy to render sensible and linguistic spaces prior to the thought of their separation. Kaushik situates Merleau-Ponty's criticisms of Saussure's linguistic system, as well as a more general repudiation of the act of inscribing in favour of an abstracted textual meaning, in this context. Following the artists most important to Merleau-Ponty's own writings on art, such as Paul Klee and his fascination with hieroglyphics, and extending these analyses to more recent 21st Century artists such as Cy Twombly, Kaushik takes an excursion into the places where art and language, image and text, drawing and writing, figure and discourse, are interlaced in Merleau-Ponty's last ontology. In view of these intersections, Kaushik ultimately argues, the work of art gives us the spaces where the possibilities of philosophy, both past and future, reside. As the first sustained treatment into the relationship between art and language, this is an important contribution to Meleau-Ponty's philosophy and scholars of aesthetics. (shrink)

The theory of language that underlies Plotinus’ Enneads is considered in relation to his broader metaphysical vision. For Plotinus, language is neither univocal nor equivocal, but is something in-between, incapable of precisely describing reality, but nonetheless not completely useless. Propositional knowledge expressed discursively represents an imperfect shadow of reality which is defective in relation to the pure apprehension of Intellect. Passages in Plotinus which relate language to the sensible world are examined and it is argued that, although (...) it plays a useful role in relating the sensible world to Intellect, discursive reason is nonetheless intrinsically inferior to both as a mode of representation. Plotinus holds that the inadequacy of language is “global” in character; language cannot describe any aspect of reality precisely, from the mundane to the transcendent. Language as a whole is an inferior image or imitation of the world as a whole. Therefore, the flaws in our linguistic representations cannot all be untangled or conceptually unpacked by means of language. There are passages in the Enneads which hint at an underlying semantic holism. Plotinus’ theory implies that apparent verbal contradictions which occur in different contexts might nonetheless still represent the optimal linguistic description of a reality that strictly speaking is ineffable. Therefore, discursive logical deduction is not always reliable, and needs to be subordinated to a vision of Intellect. True philosophical reasoning (dialectic) represents ostension towards the transcendent. Those who are sufficiently liberated to attain to an apprehension of the Forms, thereby come to inhabit the same “higher world”, involving a shared mystical intersubjectivity, which can be expressed linguistically, but only in an approximate manner. Plotinus’ theory presents a potential way out of the nihilistic impasse into which contemporary philosophy has arguably become enmeshed. (shrink)

Lingualism claims there is no thought without language. At the other end of the theoretical spectrum, strong nativist 'Language of Thought' theories hold that public language is inessential to private thought. For an adequate empirical description of the ontogeny of thought and language, however, we need an intermediate position recognizing the dialectical interplay between pre-linguistic thought, language acquisition and the development of full-fledged linguistic reason. In this article recent findings from developmental and comparative psychology are (...) reviewed that highlight the need for such a dialectical picture. These findings concern basic cognitive capacities common to pre-linguistic infants and many non-linguistic animals, specific social-cognitive abilities in human infants that enable language acquisition, and the influence of language on the subsequent cognitive development. (shrink)

In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method is (...) one of tracing the mutually entangled implications of images. Furthermore, Didi-Huberman challenges Rancière to articulate what exactly “the sensible” means when he uses the phrase “distribution of the sensible.” While Rancière distrusts the reliance on pathos and emotions when it comes to analysing images, Didi-Huberman argues that “the sensible” will always involve the body with all its pathos, emotions and gestures. (shrink)

The present study investigates the types of verb and symbolic representational strategies used by 10 deaf signing adults and 13 deaf signing children who described in Italian Sign Language 45 video clips representing nine action types generally communicated by five general verbs in spoken Italian. General verbs, in which the same sign was produced to refer to several different physical action types, were rarely used by either group of participants. Both signing children and adults usually produced specific (...) depicting predicates by incorporating, through a representational strategy, the object and/or the modality of the action into the sign. As for the different types of representational strategies, the adults used the hand-as-object strategy more frequently than the children, who, in turn, preferred to use the hand-as-hand strategy, suggesting that different degrees of cognitive complexity are involved in these two symbolic strategies. Addressing the symbolic iconic strategies underlying sign formation could provide new insight into the perceptual and cognitive processes of linguistic meaning construction. The findings reported here support two main assumptions of cognitive linguistics applied to sign languages: there is a strong continuity between gestures and language; lexical units and depicting constructions derive from the same iconic core mechanism of sign creation. (shrink)

Modeling law search and retrieval as prediction problems has recently emerged as a predominant approach in law intelligence. Focusing on the law article retrieval task, we present a deep learning framework named LamBERTa, which is designed for civil-law codes, and specifically trained on the Italian civil code. To our knowledge, this is the first study proposing an advanced approach to law article prediction for the Italian legal system based on a BERT (Bidirectional Encoder Representations from Transformers) learning framework, (...) which has recently attracted increased attention among deep learning approaches, showing outstanding effectiveness in several natural language processing and learning tasks. We define LamBERTa models by fine-tuning an Italian pre-trained BERT on the Italian civil code or its portions, for law article retrieval as a classification task. One key aspect of our LamBERTa framework is that we conceived it to address an extreme classification scenario, which is characterized by a high number of classes, the few-shot learning problem, and the lack of test query benchmarks for Italian legal prediction tasks. To solve such issues, we define different methods for the unsupervised labeling of the law articles, which can in principle be applied to any law article code system. We provide insights into the explainability and interpretability of our LamBERTa models, and we present an extensive experimental analysis over query sets of different type, for single-label as well as multi-label evaluation tasks. Empirical evidence has shown the effectiveness of LamBERTa, and also its superiority against widely used deep-learning text classifiers and a few-shot learner conceived for an attribute-aware prediction task. (shrink)