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)

My aim in this article is to briefly reconstruct the reception of Dewey's _Art as Experience_ and more generally of his aesthetics in Italy. In order to do so, my contribution will be divided into three parts, corresponding to the three editions that Dewey's book has had in Italy. In the first part, I will trace the early influences and the debate with Benedetto Croce, showing the "idealistic encirclement" suffered by Dewey's aesthetics, which led to the first Italian translation (...) of Dewey's book in 1951. In the second part, I will trace the influence of Dewey's aesthetics from 1951 to 2006, showing first the Marxist and Catholic critiques, then the first tentative attempts at a reinterpretation outside the idealist domain, and finally the second edition of _Art as Experience_ in Italy 1995. The third part considers the renaissance of Dewey's aesthetics in Italy after Giovanni Matteucci's new translation in 2006 and Luigi Russo's work in 2007. The article concludes with a brief consideration of Dewey's significance for the contemporary Italian aesthetic debate and an attempt to identify a specific Italian interpretation of Dewey's aesthetics that can be traced in the effort to bring Dewey into dialogue with other authors of the modern aesthetic tradition. (shrink)

In this paper I argue that 1) Kant’s power of judgment is constitutively always reflecting, as its lawful employments involve a preliminary self-reference of the faculties the power of judgment itself is required to connect and let them match with each other. Accordingly, I claim that 2) the principle of purposiveness is the principle of the power of judgment as such, and not just of an allegedly self-standing reflecting branch of this faculty. I criticize the view that Kant draws a (...) dichotomy between reflecting and determining judgments and argue that 3) Kant’s point in the third Critique is to rule out the amphiboly between the reflecting and the determining employment of the principle of purposiveness. The power of judgment is, as such, always reflecting: while in the case of cognition it also works in a determining way, in the case of both aesthetics and teleology it is only reflecting, i.e., self-purposive – as it sets its function as its own end. (shrink)

Nico De Federicis - Lezioni su Leibniz - Journal of the History of Philosophy 40:3 Journal of the History of Philosophy 40.3 401-402 Book Review Lezioni su Leibniz Luigi Scaravelli. Lezioni su Leibniz . Edited by Gianfranco Brazzini. Soveria Mannelli: Rubbettino, 2000. Pp. 260. 15.49. Lectures on Leibniz publishes a series of lectures, edited by Gianfranco Brazzini, that were held by Luigi Scaravelli at the University of Pisa in the Academic year 1953/54. Scaravelli was a major ill-starred Italian (...) scholar. Although probably the most significant philosopher in Italy after the death of Benedetto Croce, he nevertheless remained quite unknown. This collection of lectures offers an exceptional opportunity for insight into Scaravelli's philosophical approach. The.. (shrink)

This paper exhibits a general and uniform method to prove axiomatic completeness for certain modal fixpoint logics. Given a set Γ of modal formulas of the form γ, where x occurs only positively in γ, we obtain the flat modal fixpoint language by adding to the language of polymodal logic a connective γ for each γΓ. The term γ is meant to be interpreted as the least fixed point of the functional interpretation of the term γ. We consider the following (...) problem: given Γ, construct an axiom system which is sound and complete with respect to the concrete interpretation of the language on Kripke structures. We prove two results that solve this problem.First, let be the logic obtained from the basic polymodal by adding a Kozen–Park style fixpoint axiom and a least fixpoint rule, for each fixpoint connective γ. Provided that each indexing formula γ satisfies a certain syntactic criterion, we prove this axiom system to be complete.Second, addressing the general case, we prove the soundness and completeness of an extension of . This extension is obtained via an effective procedure that, given an indexing formula γ as input, returns a finite set of axioms and derivation rules for γ, of size bounded by the length of γ. Thus the axiom system is finite whenever Γ is finite. (shrink)

A μ-algebra is a model of a first-order theory that is an extension of the theory of bounded lattices, that comes with pairs of terms where μx.f is axiomatized as the least prefixed point of f, whose axioms are equations or equational implications.Standard μ-algebras are complete meaning that their lattice reduct is a complete lattice. We prove that any nontrivial quasivariety of μ-algebras contains a μ-algebra that has no embedding into a complete μ-algebra.We then focus on modal μ-algebras, i.e. algebraic (...) models of the propositional modal μ-calculus. We prove that free modal μ-algebras satisfy a condition–reminiscent of Whitman’s condition for free lattices–which allows us to prove that modal operators are adjoints on free modal μ-algebras, least prefixed points of Σ1-operations satisfy the constructive relation μx.f=logical and operatorn≥0fn. These properties imply the following statement: the MacNeille–Dedekind completion of a free modal μ-algebra is a complete modal μ-algebra and moreover the canonical embedding preserves all the operations in the class image of the fixed point alternation hierarchy. (shrink)

L’ordinamento cosmico rappresenta il punto di riferimento costante dell’agire morale della creatura, che deve misurare le sue scelte preferendo sempre gli esseri-beni oggettivamente superiori a quelli inferiori. La virtù della scelta ordinata non è altro che la giustizia, come trasversalmente affermato nelle opere di Agostino d’Ippona. Il presente contributo intende mostrare come, sul piano creaturale, la dinamica della scelta ordinata rimane invariata con la teologia della grazia indebita sviluppata a partire dall’ _ Ad Simplicianum _. In particolare, si intende evidenziare (...) il passaggio da una visione che individua nella creatura stessa, aiutata da Dio, la causa prima della sua volontà morale, presente nelle opere precedenti il 397, a una decisamente più radicale, successiva a questa data, che invece individua tale causa nell’operare efficiente e predestinato di Dio. Quest’ultima posizione mostra il duplice vantaggio di risolvere alcuni paradossi impliciti nella riflessione precedente, senza smentire la forma (ordinata) della giustizia, sebbene non possa evitare di ridimensionare il ruolo della creatura in relazione ai suoi meriti. _ The cosmic order represents the focal point of reference for moral agents, who must evaluate their choices based on the degree of perfection rather than settling for inferiour objects or beings. According to Augustine of Hippo, justice is the virtue of ordered choice. The present contribution aims to show how, from the viewpoint of the creature, the structure of ordered choice does not change even when the theology of grace is developed in Ad Simplicianum. In particular, the essay focuses on the shift from an earlier view, developed before 397, that places the original cause of good will in the creature itself, along with God’s assistance, to a later and more radical perspective that sees God’s role as the exclusive source of good will through efficient and predestined intervention. The latter viewpoint has the dual advantage of unfolding some paradoxes of the previous perspective, while still maintaining the (ordered) form of justice, although it inevitably limits the role of creatures in relation to their merits. _. (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)

L’obiettivo di giungere ad una difesa comune europea ha accompagnato il processo di integrazione della UE senza mai essere conseguito. La spiegazione di questo insuccesso sembra risiedere nella difficoltà di conciliare da una parte sovranità degli Stati membri e, dall’altra, trasferimento delle funzioni di difesa e politica estera alle istituzioni comunitarie. Usando parti di un mio recente lavoro sulla federazione kantiana (Caranti 2022), l’articolo mostra come Kant metta a disposizione le risorse necessarie per comprendere le cause profonde che impediscono questa (...) conciliazione e il prezzo che occorrerebbe pagare, appunto in termini di sovranità degli Stati membri, per raggiungere l’obiettivo di una difesa comune. Per ottenere tali risorse occorre entrare nella questione, molto dibattuta negli studi kantiani, del perché Kant sembra, non senza ambiguità e ripensamenti, finire col preferire la soluzione di una federazione sovranazionale su quella della repubblica mondiale (il Völkerbund invece del Völkerstaat) come uno dei tre pilastri su cui poggia il suo progetto di pace perpetua. Nella prima parte si dà quindi conto di tre argomenti kantiani per preferire la soluzione del Völkerbund a quella del Völkerstaat, nella seconda si analizzano alcune critiche cosmopolitiche a tale preferenza, nella terza e quarta si risponde a tali critiche mostrando che il ‘dilemma della sovranità’ percepito da Kant non può essere aggirato nella maniera suggerita dai cosmopoliti per giungere alla conclusione che una difesa comune europea è possibile ed auspicabile ma prevede (o implica) la trasformazione dell’Unione europea da quello che è oggi, un’entità a metà strada tra confederalismo e federalismo, ad una compiuta federazione con governo centrale, vicina al sogno ricorrente degli Stati Uniti d’Europa. (shrink)

This Element introduces the reader to Kant's theory of peace and to its place in the broader context of the critical philosophy. It also delves into one aspect of the model that has generated much debate among interpreters, given Kant's changing thoughts on the matter. This aspect relates to the nature and powers of the international federation. Defending the idea that national sovereignty is indissolubly linked to states' full autonomy regarding the use of military power, this Element offers an interpretation (...) and defense of the Kantian federation that, in many regards, departs from the mainstream reading. Special emphasis is placed on the problematic coexistence of two conflicting theoretical desiderata: on the one hand, the necessity of establishing an international institution with coercive powers for securing peace; on the other hand, the necessity of avoiding the risk of an excessive erosion of states' sovereignty. (shrink)

This commentary responds to the following article previously published on the Journal and Business Ethics: ‘Baudoin, L., Arenas, D. “Everyone Has a Truth”: Forms of Ecological Embeddedness in an Interorganizational Context. _J Bus Ethics_ _185_, 263–280 (2023)’. Our commentary offers a rejoinder to Baudoin’s and Arenas’ conclusion that environmental engagement within organizations is a plural field within which many different sub-positions may be discerned. In rejoining their conclusion, our commentary searches for greater nuance in the portrayal of engagement for social (...) and ecological transition in the workplace. This is done in two steps: first, by ‘softening’ categories that conceal as much as they reveal: like Olin Wright’s tripartition of rupture, interstice and reform as _distinct_ forms such engagement might take. Second, by undertaking a close reading of the experience of an activist undertaking training on environmental issues, who has previously left a job with a French car manufacturer. In so doing, we discern the following strategies co-existing simultaneously in this person’s story: an existential quest to frame his choices, the decision to become a broker of scientific information concerning human-made climate change to other professionals, and a state of ‘suspension’ in moving from individual consciousness raising to the initiation of joint action with others. (shrink)