ITA: Quello del “buon europeo” è in Nietzsche un tema significativo, che si presenta originariamente connesso alle riflessioni di Nietzsche sulla cultura europea, arricchendosi col tempo di una portata filosofica che si lega agli obiettivi del suo pensiero maturo. Scopo del presente articolo è di mostrare la genesi e l’evoluzione di tale concetto, a partire dalle sue prime occorrenze in Umano, troppo umano I fino al suo compiuto sviluppo negli scritti del 1885-87. Tale studio permetterà di evidenziare il particolare valore (...) che Nietzsche attribuisce ai “buoni europei”, in quanto promotori dello sviluppo spirituale conseguente alla compiuta liberazione della morale cristiana. ENG: The “good European” is a rich and important topic in Nietzsche. It is first related to Nietzsche’s early reflections on European culture, and during the 1880’s it gains philosophical value, being strictly connected with the purposes of Nietzsche’s mature thought. The aim of this paper is to track the genesis and development of the notion of “good European”, from Human, all too Human I to Nietzsche’s writings from the years 1885-1887. That investigation shall particularly show the meaning and value that Nietzsche attributes to the good Europeans; as for him, they are in fact the leaders of the spiritual development that follows the overcoming of Christian morality. (shrink)

Contrary to what a superficial reading of Nietzsche might suggest, Nietzsche’s perspectivism is only apparently limited to the theoretical sphere. In fact, Nietzsche also relates perspectivism with his analysis of values and, more in general, with his critique of morality. The aim of the present paper is to present an overview of what might be called Nietzsche’s “moral perspectivism”. In order to answer the question about what kind of practical philosophy derives from Nietzsche’s perspectivism, we shall focus the attention on (...) two views which are erroneously believed to follow from it: radical individualism and strong relativism. (shrink)

In the last decades, the rapid growth of functional brain imaging methodologies allowed cognitive neuroscience to address open questions in philosophy and the social sciences. At the same time, novel insights from cognitive neuroscience research have begun to influence various disciplines, leading to a turn to cognition and emotion in the fields of planning and architectural design. Since 2003, the Academy of Neuroscience for Architecture has been supporting ‘neuro-architecture’ as a way to connect neuroscience and the study of behavioral responses (...) to the built environment. Among the many topics related to multisensory perceptual integration and embodiment, the concept of hapticity was recently introduced, suggesting a pivotal role of touch and haptic imagery in architectural appraisal. Arguments have thus risen in favor of the existence of shared cognitive foundations between hapticity and the supramodal functional architecture of the human brain. Precisely, supramodality refers to the functional feature of defined brain regions to process and represent specific information content in a more abstract way, independently of the sensory modality conveying such information to the brain. Here we highlight some commonalities and differences between the concepts of hapticity and supramodality according to the distinctive perspectives of architecture and cognitive neuroscience. This comparison and connection between these two different approaches may lead to novel observations in regard to people-environment relationships, and even provide empirical foundations for a renewed evidence-based design theory. (shrink)

The paper explores the issue of moral relativism in Nietzsche, and tries to argue that Nietzsche's attitude towards moral values does not support a radical relativism according to which since (i) every moral interpretation is relative to a judging perspective, and (ii) an absolute viewpoint is lacking, then (iii) every moral interpretation seems to be as true, valid or justified as the others. On the contrary, Nietzsche's perspectivism leaves space for a rank order among values, whose establishment is considered by (...) Nietzsche as the future task of the philosopher. (shrink)

Nietzsche’s timeliness is patent in the renewed enthusiasm with which scholars in both the continental and analytic traditions have approached his works in recent years. Along with other topics, attention has been particularly directed towards two important issues: Nietzsche’s analysis, critique, and genealogy of culture, and his stance on subjectivity. In this introductory study we shall provide a brief outline of both these topics. As will be shown, they play a pivotal role in Nietzsche’s thought, and the link that connects (...) them is stronger than one would imagine. (shrink)

The New Economic Windows Series, derived from Massimo Salzano's ideas and work, incorporates material from textbooks, monographs and conference proceedings that deals with both the theoretical and applied aspects of various sub-disciplines ...

In Pomponazzis Erkenntnistheorie, Paolo Rubini examines the radical views on human knowledge held by the Renaissance Aristotelian philosopher Pietro Pomponazzi (1462-1525), and interprets them in accordance with Pomponazzi's 'naturalistic' conception of the mind as essentially corporeal.

Review of the book "Analytic Philosophy and the Later Wittgensteinian Tradition" by Paolo Tripodi.

Angelaki, Volume 16, Issue 3, Page 39-51, September 2011.

A bibliography of the writings on Pietro Piovani . A continuation of the Bibliografia degli scritti su Pietro Piovani , Liguori, Napoli, 2000, edited by the same author, which numbered 337 entries.

The conversation between Giorgio Barberio Corsetti and Pietro Montani, led by Dario Cecchi, focuses on some of the principal aspects of the career and work of Paolo Rosa and Studio Azzurro, by making reference also to the occasion when the director and the philosopher met the artist and his team. Of such an artistic path, they have been particularly emphasized the interest for the dialogue among different artistic languages (theatre, video art); the attention to the way images are (...) able to refresh the meaning of action and word within theatre and performing arts generally speaking; the relationship between art and technics in the perspective of a “poetic” (or better “poietic”) use of technologies and media; the importance given to the public (ethical and political) dimension of images and art installations, able to working through the sense of belonging to a community. (shrink)

The recent publication of the books La razionalità, by Paolo Labinaz, and I modi della razionalità, edited by Massimo Dell’Utri and Antonio Rainone, offers the opportunity to provide an overview of some important discussions on rationality. In particular, I highlight how the modern and Cartesian ideal of this notion is undergoing a transformation that is enhanced by results coming from empirical studies in the field of cognitive science. These transformations are visible in many ambits concerning rationality: this discussion privileges (...) the traditional ones, i.e., logical, theoretical, and practical rationality. (shrink)

A collection of essays dedicated to Pier Luigi Lecis' retirement. Contributors include: Mariano Bianca, Silvana Borutti, Vinicio Busacchi, Massimo Dell'Utri, Rosaria Egidi, Roberta Lanfredini, Giuseppe Lorini, Diego Marconi, Francesco Orilia, Paolo Parrini, Alberto Peruzzi, Simonluca Pinna, Pietro Salis, Paolo Spinicci.

This article contributes to a theory of the lyric essay film by bringing studies of the essay film and lyricism to bear on Pietro Marcello’s Lost and Beautiful (2015). We argue that the lyric essay film delivers its argument by leveraging the tension between words and images, narrative and counter-narrative components, and the (non)human subjectivities (i.e. the director’s, characters’ and camera’s) its text embodies and enacts. These tensions generate interstitial sites from which the ethics and politics of the lyric (...) essay film emerge. Insofar as the lyric essay film is marked by the intrusion of subjectivity in the genre’s argumentative structure, the polyvocality that this intrusion allows in terms of both critical and affective contribution to the film’s argument is what enables the lyric essay film to undermine ideological homogenisation and the naturalisation of situated subjective positions. Moreover, the felt participation of the subjectivity of the camera in the rendering of reciprocal processes of subjectivation becomes ethically meaningful as it embodies a conception of subjectivity as co-determined by otherness. The ethical significance of this interaction is also relevant to contemporary environmental thought, as it maintains that human subjectivities are co-determined by human and nonhuman others. (shrink)

Introduzione di Pietro Rossi - Bobbio e il diritto di Gustavo Zagrebelsky - Bobbio e la politica di Massimo L. Salvadori - La teoria generale del diritto di Riccardo Guastini - La teoria generale della politica. Per la ricostruzione del "modello bobbiano" di Michelangelo Bovero - Realismo politico e dottrina dello Stato di Pier Paolo Portinaro - Le relazioni tra gli Stati di Luigi Bonanate - Gli autori - Indice dei nomi.

The matter of truth in Nietzsche’s thought is one of the most studied and debated topics in recent scholarship. It is a topic of great interest and has generated much scholarship, but rarely does such work offer anything new. The book, Teorie e pratiche della verità in Nietzsche, edited by Pietro Gori and Paolo Stellino, is an exception to this trend, as it offers important and original contributions to this area of study.The text—which is the result of a (...) workshop by the same name held in Valencia in May 2011— develops an original approach on two different levels. On the one hand, the authors acknowledge in the preface not only the importance of the search for truth in Nietzsche’s philosophy, but also the... (shrink)

This paper investigates what happens when we merge two different lines of theorizing about counterfactuals. One is the comparative closeness view, which was developed by Stalnaker and Lewis in the framework of possible worlds semantics. The second is the interventionist view, which is part of the causal models framework developed in statistics and computer science. Common lore and existing literature have it that the two views can be easily fit together, aside from a few details. I argue that, on the (...) contrary, transplanting causal-models-inspired ideas in a possible worlds framework yields a new semantics. The difference is grounded in different algorithms for handling inconsistent information, hence it touches on issues that are at the very heart of a semantics for contrary-to-fact conditionals. Roughly, Stalnaker/Lewis semantics requires us to evaluate the consequent of a counterfactual at all closest antecedent-verifying possibilities. Causal-models-based semantics also does this, but in addition uses the information contained in the antecedent, together with background causal information, to shift what worlds count as closest. This makes systematically different predictions and generates a new logic. The upshot is that we have a new semantics to study, and a substantial theoretical choice to make. (shrink)

This article argues that Tolstoy’s What Is Art? had a direct influence on David Foster Wallace’s conception of literature, and most specifically that Wallace appropriated Tolstoy’s discourse (down to most of its most specific details) to found his literary project. The article seeks to prove this by exhibiting the striking extent of Wallace’s alignment with Tolstoy’s beliefs, by retracing the multiple direct references to Tolstoy in Wallace’s work, and by uncovering Wallace’s annotations on his own copy of What Is Art? (...) as further confirmation of what a careful comparative analysis of the works of the two authors makes manifest. (shrink)

This article argues that Sartre’s “What Is Literature?” had a profound and direct influence on David Foster Wallace’s conception of literature. At the very least, a number of factors oblige scholars to take this interpretation seriously. We know that Sartre’s existentialism pervades Wallace’s fiction, that Wallace repeatedly mentioned the Existentialists throughout his work, that he’d learned French to read them in the original, and that Sartre was one of his favorites, as testified by Zadie Smith. Most importantly, a comparative analysis (...) of Sartre’s text and Wallace’s nonfiction shows not only striking parallels but also almost exact repetitions in the writers’ fundamental ideals. In this sense, Sartre’s direct influence on Wallace appears so major as to invest multiple specific details of Wallace’s conception of literature both in its content and in the logical structuring of that content. In this article, we explore the extent of this influence through a structured investigation of its multiple features, showing that many of Wallace’s tenets – the rejection of Realism, the affirmation of meaning-as-use and of literature as a means to human communion and individual and social engagement, and many many more – follow from Sartre’s discourse. (shrink)

Il presente intervento costituisce soltanto un breve introduzione, come richiamo delle ragioni che hanno portato a questo Exploratory Workshop, nel ricordo delle riunioni che lo hanno preceduto sino all’incontro qui a Bologna il 15 febbraio 2011 e a quello di Nijmegen nell’autunno del 2011.1 Non si tratta infatti di un convegno conclusivo ma soltanto di una tappa del cammino che il gruppo di lavoro si era prefisso. Il tema formulato dall’inizio era quello di studiare il formarsi delle identità collettive e (...) dei modelli di vita nel mondo rimasto fedele alla Chiesa di Roma, nel periodo della Riforma e della frattura religiosa sino al definirsi definitivo degli schieramenti confessionali: “Pluralism and Identity.. (shrink)

What were the earliest reactions to Gödel's incompleteness theorems? After a brief summary of previous work in this area I analyse, by means of unpublished archival material, the first reactions in Vienna and Berlin to Gödel's groundbreaking results. In particular, I look at how Carnap, Hempel, von Neumann, Kaufmann, and Chwistek, among others, dealt with the new results.

This book experiments with Nietzsche and Adorno who are contemporary proponents of early German Romanticism. By reconstructing the philosophies of language of these thinkers and their critique of metaphysics and identity thinking, this book develops a notion of philosophical praxis that is grounded in the ethical dimension of thinking.

Ce texte examine l’affirmation d’Aristote qui se trouve dans les Seconds Analytiques II 19, que la perception porte sur l’universel. L’examen s’effectuera par le biais du De Anima II 6 et III 6-8 où Aristote décrit les objets de la perception et de l’intellect. L’auteur soutient que selon Aristote, la perception humaine porte toujours sur l’universel contenu dans le particulier parce que l’unité de la substance individuelle est garante de l’unité de l’acte de perception. Par conséquent, l’analyse en termes de (...) trois objets de perception n’est que le résultat de la méthode analytique qu’Aristote emploie afin d’étudier l’acte de perception. (shrink)