L'arte è l'espressione intima--ma concepita per essere condivisa--della sensibilità di alcuni individui che avvertono l'urgenza di manifestare il proprio sentire rispetto al reale, o al non-reale. Gli artisti e, di conseguenza, le loro opere non possono non accogliere le sollecitazioni provenienti dall'attualità che li anima elaborando le complessità del mondo contemporaneo. È quindi necessario intrecciare come in una mappa neuronale lo studio delle opere d'arte con altre discipline, come antropologia, filosofia, biologia, perché una più ampia libertà di indagine consente di (...) strutturare con maggiore armonia la storia e la critica d'arte. Realizzare dialoghi plurimi permetterà così una visione più piena e approfondita dell'arte stessa."--Back cover. (shrink)

È un incontro tardivo ma fatale, quello con l’Esprit souterrain di Dostoevskij da parte di Nietzsche nell’inverno nizzardo del 1886-87, assimilabile a quello giovanile del 1865 col Mondo come volontà e rappresentazione di Schopenhauer, o a quello del 1879 con Il rosso e il nero di Stendhal. La fascinazione immediata e istintiva di Nietzsche per Dostoevskij, rileva Stellino, è mossa da un’elettiva affinità psicologica che porta i due Autori a scandagliare le profondità oscure dell’animo umano...

Marco Enrico Giacomelli, Some Anticipations and Legacies of Foucault in Italy: Operaismo in Perspective. We connect « Sociological » research conducted by Italian operaism in Fifties-Seventies and genealogy of Michel Foucault, analysing some themes concerning contemporary political period. In particular, the concept of city-factory, needs, and disciplinary society, stressing some possible development of research and criticizing some position issued in politology, especially in Italy.

The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the (...) article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi. (shrink)

The paper aims to investigate the peculiar relationship between art and life in the context of Nietzsche’s thought. We mean to show how Nietzschean aesthetics is not conceived as a theoretical and rational reflection that abstractly investigates the conditions of possibility of beauty and art: on the contrary, aesthetics is understood by Nietzsche as a practice aimed at shaping life in a beautiful form. The topic of the Lebens-form is considered as a common thread of an original exegesis of human (...) types as aesthetic symbols of life within Nietzsche’s philosophy. Nietzsche’s notion of “becoming who we are” will therefore be understood as an ability to affirm and realize one’s life in all its potential. The Dionysian conception of art, which is considered in The Birth of Tragedy as an ecstatic inebriation that stimulates life and saves man from the tragedy of pain, will then be compared with the idea of ars vivendi, referring to the notion of wisdom and to the Hellenistic-Roman practice of ἄσκησις. (shrink)

Una lungo viaggio fra esteti, scrittori e poeti, dotti riformatori, critici letterari, linguisti, traduttologi up to date.

En el presente artículo, indagamos en torno a la teoría de la dependencia de Ruy Mauro Marini y sus estudios de principios de los años 1970, a fin de retomar los aportes teóricos-metodológicos que proporciona frente al problema de la conceptualización de las clases sociales en América Latina. Recuperamos los estudios desarrollados entre 1973, año de publicación de La dialéctica de la dependencia, y 1979, cuando se divulgan los artículos “Plusvalía extraordinaria y acumulación de capital” y “El ciclo del capital (...) en la economía dependiente”. En este período, desarrolló el núcleo de su crítica a la economía política latinoamericana y los cimientos de la categoría de dependencia. Asimismo, produjo una serie de estudios volcados a pensar la coyuntura chilena de la época. Muchos de estos materiales fueron compilados en el libro El reformismo y la contrarrevolución. El diálogo entre los textos teóricos y los estudios sobre Chile constituyen la fuente principal de nuestra indagación. Nuestra hipótesis es que, en estos textos, escritos al calor de las luchas y proceso políticos y culturales, hay implícita una orientación teórico metodológica que hace a la consideración de las clases sociales en el capitalismo dependiente latinoamericano y desborda los acontecimientos puntuales para abonar la construcción de herramientas que permiten comprender determinaciones en un plano general, ligadas a las reconfiguraciones neoliberales del capitalismo. (shrink)

Este ensayo provee una visión general de la obra de la pintora mexicana María Izquierdo y ubica sus imágenes e ideas dentro de los debates sobre el rol del arte en la sociedad mexicana entre 1930 y 1950. En la primera década de su carrera ella estaba tangencialmente afiliada al grupo vanguardista literario conocido como los Contemporáneos, que abogaba por el arte puro. Después de 1939, cambió los temas y el estilo de su obra y enfatizó la mexicanidad, acercándose a (...) algunas de las ideas -aunque no a todas- propugnadas por los muralistas y otros artistas que compartieron su agenda. A través de su carrera, Izquierdo creó obras que abordaron cuestiones de género y promovieron una presencia positiva de las mujeres. Las representaciones de las protagonistas femeninas de Izquierdo contrastan con las de los muralistas, quienes generalmente las presentaron en papeles secundarios. (shrink)

Plusieurs générations de chercheurs internationaux interrogent l’esthétique de Merleau-Ponty suivant deux axes : d’une part, le dialogue constant et passionné avec des arts (peinture, littérature, cinéma) et ses protagonistes (Cézanne, Proust, Claude Simon) qui est à l’origine de l’esthétique de Merleau-Ponty, et dans d’autre part, l’impact de la pensée merleau-pontienne sur les arts, depuis le Minimal Art américain en passant par le Body Art et la danse contemporaine. Tandis que certaines contributions s’intéressent, en s’appuyant sur les inédits, au rapport jusqu’ici (...) moins étudié que Merleau-Ponty entretenait avec la musique, mais aussi avec la photographie, d’autres contributions jaugent l’héritage merleau-pontien dans des arts sur lesquels il n’a pas lui-même écrit (la sculpture, la danse ou le théâtre). Ce volume propose donc une première synthèse générale du rapport de Merleau-Ponty aux arts, tout en en indiquant les lignes de fuite et les horizons qui en font aujourd’hui, cinquante ans après sa mort, toute l’actualité. -/- Contributions d’Emmanuel Alloa, Ronald Bonan, Fabrice Bourlez, Mauro Carbone, Lambert Dousson, Eliane Escoubas, Barbara Formis, Paule Gioffredi, Adnen Jdey, Stefan Kristensen, Rosamaria Salvatore, Jenny Slatman, Bernhard Waldenfels, Benedetta Zaccarello. (shrink)

In this beautifully illustrated book Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such as (...) Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s. Featuring unpublished works and a rare selection of over one hundred images, this book will appeal to art collectors and students of art history and Italian culture. (shrink)

MIRÓ M, GASTALDO D, NELSON S and GALLEGO G. Nursing Inquiry 2012; 19: 270–280 Spanish nursing under Franco: reinvention, modernization and repression (1956–1976)This article examines Spanish nursing during a critical 20‐year period (1956–76) when, under the dictatorial government of General Franco, nursing became the target of a modernization strategy. In the national standardized system of state‐run schools, the previously distinct nursing and midwifery programmes were merged into a new training programme which created the single professional denomination of ATS–Ayudante Técnico Sanitario (...) (Technical Sanitary Assistant). Under the leadership of medicine, and with the blessing of the Catholic Church and the Sección Femenina (Women’s Section of the Falangist Party), nursing was positioned as feminized and subordinate to medicine, a predominantly male profession in mid‐twentieth century Spain. This article discusses this crucial phase of Spanish nursing history by focusing on one influential historical document (published in 1956), Professional Moral Orientation for the Sanitary Technical Assistants, a nursing textbook on professional morals for first‐year nursing students written by Rosamaria Miranda, a Catholic nun and a trained nurse. Our analysis reveals that gender‐related and technical discourses concerning disciplinary and pastoral power relations presented in this textbook legitimate the core beliefs of Franquism put forward by the politically powerful women’s branch of the ruling Falangist Party in mid‐twentieth century Spain. (shrink)