The present study had two goals: to test the validity of Planned Happenstance Career Inventory in the Italian context and to explore the relations between PHC skills and vocational identity processes within a sample of 472 undergraduate students attending university in the southern of Italy. Moreover, we examined relations between the PHCI and measures of vocational identity processes. With regard to the first goal, results show that for the Italian version of the instrument was confirmed the multifactor structure of the (...) original version. The multi-group analyses showed that invariance between genders is supported. Convergent validity and divergent validity of the measure were reported. Concerning the second goal, the skills of planned happenstance show different associations with Vocational Identity Dimensions. As hypothesized, the exploration and commitment dimensions of vocational identity status are positive related to Planned Happenstance Skills. These findings suggest implications for career guidance and counseling. (shrink)

Wasteland -- Improvement -- Swamp -- Mountain -- Forest -- Wilderness, wasteland, garden.

In Feeling of Knowing cases, subjects have a form of consciousness about the presence of a content (such as an item of information) without having access to it. If this phenomenon can be correctly interpreted as having to do with consciousness, then there would be a P-conscious mental experience which is dissociated from access.

Nella notazione musicale ancora alla metà del Duecento i valori di durata sono organizzati in raggruppamenti di piedi ritmici costruiti su un minimo di durata , che è anche unità di misura del tempo musicale, corrispondente alla sillaba. Con la nascita della notazione mensurale, verso la fine del Duecento, ma soprattutto in seguito all'evoluzione della prassi compositiva, nei primi decenni del Trecento fu necessario ridefinire il rapporto tra tempo, minimo di durata e unità di misura. I musici al di qua (...) e al di là delle Alpi ovviarono diversamente dando vita a due sistemi musicali e notazionali, italiano e francese, differenti proprio nei loro presupposti teorici. In ambito italiano Marchetto da Padova dimostra come l'unità di misura del tempo musicale non coincida con il minimo di durata in senso assoluto, ma con ciò che è minimo all'interno del genere musicale: pur chiamandosi ancora breve, l'unità di misura nel sistema notazionale italiano può arrivare a contenere fino a dodici suoni. L'articolo mette a fuoco come Marchetto da Padova giunga alla definizione dell'unità di misura del tempo musicale nel suo trattato Pomerium e mostra le implicazioni di tale presupposto sulla prassi compositiva e la specificità del repertorio medesimo rispetto al coevo repertorio francese. During the latter half of the thirteenth century and particularly in the the fourteenth century, the mensural notation redefines the relationship between tempo, beat and temporal units. Italian and French musicians use different notational systems each with their own theoretical assumptions. In Italy Marchetto da Padova demonstrates that the beat does not coincide with the minimum in a quantitative understanding of musical time, but with the minimum in a qualitative undestanding of musical time: even it is called 'brevis', the beat in the Italian notational system can be divided up to twelve notes. The article focuses on how Marchetto of Padua explains it in his treatise Pomerium, and shows the implications of this assumption in compositional practice. (shrink)

Ever since the last century art seems to be characterized by a powerful metareflective vocation. The works of Mimmo Paladino represent an effective barrier in this deconstructive movement and allow art to preserve the memory of its own narrative vocation.

«Everything is what it is, and not another thing»: Roberta De Monticelli avrebbe forse potuto servirsi dell’epigrafe che George Moore pose come incipit dei Principia Ethica, nel 1922, per intitolare il suo nuovo libro. Sceglie invece un titolo che richiama Nietzsche e ciò che il suo pensiero ha rappresentato, per porre l’accento su un disegno teorico che percorre tutto il libro: tornare al di qua del nietzschianesimo, del suo scetticismo epistemologico e assiologico, per riprenderci non solo...

Intanto, chi è Testadura? Nel 1964 Arthur C. Danto pubblica sul “Journal of Philosophy” un saggio destinato a diventare un punto di riferimento importante per l’estetica analitica del Novecento: The Artworld. Testadura è il personaggio – dal simpatico nome italiano – che incarna il punto di vista opposto a quello sostenuto da Danto. Il problema che incuriosisce il filosofo americano, spingendolo a elaborare una filosofia dell’arte per molti versi originale è, in realtà, una questione tipicame...

L’articolo offre una rassegna introduttiva di alcuni degli sviluppi più recenti del rinnovato dibattito filosofico-politico in materia di lavoro, facendo riferimento alle ricerche di studiose e studiosi tra cui Dejours, Ferreras, Fraser, Honneth, Jaeggi, Renault, Battilana, Méda, Lordon, Virno e Negri. Si introdurranno brevemente le principali trasformazioni del lavoro avvenute negli ultimi decenni di globalizzazione neoliberista, con particolare attenzione alla moltiplicazione del lavoro e al ruolo crescente riconosciuto al lavoro riproduttivo, alle migrazioni e alla conoscenza. Verranno poi presentate alcune analisi (...) della sofferenza e dell’alienazione nel lavoro contemporaneo. Infine, si passerà in rassegna il dibattito teorico sulle sfide politiche sollevate dal nuovo scenario, concentrandosi sulle questioni della democratizzazione del lavoro, della società “post-lavoro” e della potenza riconosciuta al “lavoro vivo”. (shrink)

Pop Art is one of the most prominent artistic movement of the Nineteenth century whose legacy is very influent also in this century. After a brief historical reconstruction of the origins of Pop Art in Great Britain and in the United State, the paper will offer a comparison between the Warholian way of interpreting Pop Art — a realistic way — the Lichtensteinian way, which is fantastic, and the personal interpretation offered by Ugo Nespolo whose Pop is fabulist and fabulous.

Abbozzando nel Fedro una indagine genealogica sull’origine dell’arte, Platone coglie un tratto fondamentale. Si tratta del legame assai profondo che unisce l’arte alla regina delle proprietà estetiche, la bellezza. L’arte è portata a ricercare costantemente la bellezza, questa la tesi, poiché alla sua origine vi sarebbe una tensione erotica che trova nella bellezza, insieme, una via privilegiata di espressione e un elemento di attrazione. Una seconda e non meno autorevole genealogia dell’orig...

It is known how much of the work that Arthur Danto has dedicated to the philosophy of art has concerned the concept of representation and, specifically, the concept of artistic representation. The basic thesis that Danto developed starting from The Artworld (1965) consists in the idea that art should be considered as a particular type of representation, as opposed to what Plato had suggested, who considered it as a form of mimesis of reality. The article will show how this Dantian (...) thesis, which is based on the notion of artistic representation exhibited by Friedrich Nietzsche in the Birth of Tragedy, firstly hides a partial misunderstanding of Nietzsche's theses, and secondly reveals a philosophical error equal to and contrary to that made by Plato. We will also show how art is often a form of mimesis and how different types of mimesis are in fact compatible with artistic representation. Finally, we will show how mimesis and representation offer different forms of knowledge that belong to the art of all times. (shrink)

The paper intends to investigate the sources of the very concept of charisma in Max Weber, starting from some polemical readings made by Carl Schmitt. Aside from theologian Karl Holl, particular attention is devoted to Protestant jurist Rudolf Sohm and to his masterwork Kirchenrecht. Weber started to read it attentively in 1909, at the beginning of his project called Economy and Society, In the writings that make the most of this posthumous work that he never really ended, charisma is meant (...) as the non-juridical key for official and hierarchic organizations – Roman Church may not be the only good example: charisma creates concrete social associations elsewhere. Gradually, such organizations get more and more legal, as long as they lose their ‘extraordinary’ traits. The analysis will show how obedience and recognition are originally created by charisma and how they structure the ties that bind the followers to their leader, a hero, a prophet, or similar charismatic personalities. Being originally anti-economic, anti-institutional, charisma gets to be gradually objectified in a legal order provided with specific economical traits. In its last part, the paper analyses the famous conference Max Weber held in Munich in 1919, Politics as Vocation. Politics is identified as the intersection between charisma and bureaucracy, in the handling of the relationship between the two elements of devotion to the leader and the cause and the party machine. (shrink)

Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following. When we make a judgment of taste looking, say, at the Mona Lisa, what does that (...) mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste. (shrink)

The aim of this article is to literally explore the declinations of the status of the “monstruous thing”, investigating if and when monsters are abnormal phenomena, not of nature but of culture. Which features, of both expression and content, must a non-living artificial subject present in order to be perceived and judged as a “monster”? In the West, the image of the monster is traditionally associated with an abominable creature belonging to the universe of nature whose touchstone is a standard (...) unit of measurement associated with a human or animal body. Here, we are interested in seeing what happens when these value judgments about monsters are applied to non-organic entities. Our case study of the large cruise ships, starting with ocean liners and moving toward the modern behemoths that now enter our historic cities, discloses a new semiosis of monstrosity caused by the war of movement produced by globalization. (shrink)

Estetica, ermeneutica e ontologia sono le tre parole chiave utili per comprendere il percorso teorico di Maurizio Ferraris. Utilizzando una cifra narrativa di carattere autobiografico, l’articolo ripercorre taluni momenti della filosofia ferrarisiana cercando di evidenziare alcune cifre caratteristiche.

In its mainstream analysis, social ontology seems to make use of the modern idea of subjectivity. Margaret Gilbert, and David Lewis in his previous book on conventions, consider the subject as an auto transparent postulate. The thesis I will discuss in this paper is based on the idea that the ethical position outlined by Friedrich Nietzsche, which remains problematic in its positive outcomes, becomes a useful instrument for the comprehension of the pre-institutional components of the social world when applied to (...) an entirely different and more articulate framework such as those offered by contemporary social ontologies. (shrink)

Is judgement still possible in art? The present paper tries to answer this question, exploring the two-main forms of judgement in the domain of art: the ontological-artistic judgment (regarding the identity of works of art) and the aesthetic judgement (regarding their aesthetic properties). Arguing that the most philosophically interesting cases are those in which judgment seems impossible, the article explores the elements necessary for the formulation of the two judgements that make up the domain of art.

Il 1964 è una data importante per la filosofia di Arthur C. Danto. Durante la tarda primavera di quell’anno i responsabili della Stable Gallery di New York esposero una gran quantità di scatoloni, di dimensioni diverse e del tutto simili a quelli che si potevano vedere negli scaffali dei supermercati americani. Danto dice spesso di intendere quell’evento come la sua personale rivoluzione copernicana. Non dobbiamo dimenticare che ancora durante gli anni Sessanta del secolo scorso i filosofi an...

This paper explores the possibility of applying the theory of Documentality to the photograph, examining it in the context of the photo archive. To this end, I maintain that a photograph’s document value is not determined by its nature, but by its relationship to inscription practices. And I regard the space of the archive as a paradigmatic device that produces cognitive strategies on the word pairing “photograph/photographs” inextricably linked to the inscriptions connected with it, in the form of “archiwritings” and (...) registrations, in essence: with the words of the archive itself. (shrink)

_Sunto_ Nella proposizione 3 della κύκλου μέτρησις Archimede costruisce due numeri razionali che approssimano la misura del rapporto tra la circonferenza e il suo diametro, oggi noto come π. In questo lavoro vogliamo porre l’accento su due aspetti del trattato di Archimede: il primo riguarda le scelte dei valori razionali approssimati per eccesso e per difetto di √3 utilizzati all’inizio della procedura di calcolo, che risultano essere i migliori approssimanti in base alla moderna teoria delle frazioni continue, i cui termini (...) si possono ricavare dall’antico ανθυφαίρεσις euclideo; il secondo riguarda alcune stime utilizzate da Archimede, apparentemente non giustificate e sub-ottime, che invece sono frutto di un preciso procedimento logico da noi ricostruito in termini di un algoritmo. Di tale studio è stata proposta una trasposizione didattica che parte dal testo antico e giunge alla produzione di una traduzione commentata in cui lo studente è protagonista del processo di scoperta. _Abstract_ In proposition 3 of the κύκλου μέτρησις Archimedes constructs two rational numbers that approximate the measure of the ratio between the circumference and its diameter, today known as π. In this work we emphasize two aspects of Archimedes' proof. The first one concerns the choices of the rational values approximated by excess and defect of √3 used at the beginning of the calculation procedure. These values turn out to be the best approximants based on the modern theory of continued fractions, whose terms can be obtained from the ancient Euclidean ανθυφαίρεσις. The second one concerns some estimates used by Archimedes, apparently unjustified and sub-optimal, which instead are the result of a precise logical procedure that we recontruct in terms of an algorithm. We also propose an educational transposition of this study that starts from the ancient text and leads to the production of a commented translation in which the student is the protagonist of the discovery process. (shrink)

That’s my whole philosophy of art in a nutshell, finding the deep difference between art and craft, artworks and mere thing, when members from either class look exactly similar. What serves the purposes of ontology also serves the purpose of criticism. When you have found a similarity, avert your eyes and look for the explanation of how different artistic expression can look like affines of one another. Provo a iniziare con un indovinello: quale filosofo potrebbe avere nel salotto di casa, (...) a... (shrink)

Institutions are naturally seen as the stable and relatively fixed backbone of the social world. While the structural role of institutions is usually discussed in social ontology, the temporal implications of this regulation are often overlooked. It is indeed tempting to take a present-centred approach to institutions. The latter clearly are instrumental in stabilizing and structuring the social coordination between a number of actors. But it is all too easy to focus only on their role in syn...