In her thorough essay, Maria Silvia Da Re discusses the French and Italian tradition of the Sonnets , strictly linked, especially considering the point of view of the taste. Notwithstanding the inherent ambiguity of this subject, about which several parameters are here made explicit, the various ‘standards’ of taste turn out to be a sort of litmus paper of the values conveyed by translation, not necessarily or straightforwardly related to the selected style. But then, which style does really belong to the shaping of poetic translation?
{"title":"Shakespeare's Sonnets. Monumenti, rime, rovine. Scorci sul gusto nelle traduzioni italiane e francesi","authors":"M. G. D. Re","doi":"10.13130/2240-9599/4910","DOIUrl":"https://doi.org/10.13130/2240-9599/4910","url":null,"abstract":"In her thorough essay, Maria Silvia Da Re discusses the French and Italian tradition of the Sonnets , strictly linked, especially considering the point of view of the taste. Notwithstanding the inherent ambiguity of this subject, about which several parameters are here made explicit, the various ‘standards’ of taste turn out to be a sort of litmus paper of the values conveyed by translation, not necessarily or straightforwardly related to the selected style. But then, which style does really belong to the shaping of poetic translation?","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"E. Campbell, Music after Deleuze","authors":"Stefano Oliva","doi":"10.13130/2240-9599/4921","DOIUrl":"https://doi.org/10.13130/2240-9599/4921","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the most important reasons why beauty has been, is, and will possibly be exceedingly important for us is ethical at its core: by making us undergo the aesthetic experience of recognizing something ideal into something real, beauty can be the clearest symbol of our possibility, and even hope, of working on an ideal human measure, which means both the development of our identities as human beings and the development of more promising relationships between us, artifacts, and nature.
{"title":"Ethical topicality of the ideal beauty","authors":"S. Chiodo","doi":"10.13130/2240-9599/4908","DOIUrl":"https://doi.org/10.13130/2240-9599/4908","url":null,"abstract":"One of the most important reasons why beauty has been, is, and will possibly be exceedingly important for us is ethical at its core: by making us undergo the aesthetic experience of recognizing something ideal into something real, beauty can be the clearest symbol of our possibility, and even hope, of working on an ideal human measure, which means both the development of our identities as human beings and the development of more promising relationships between us, artifacts, and nature.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through an atmospherological approach, primarily inspired by the so-called Aisthetik or New Aesthetics (Gernot Bohme) and the New Phenomenology (Hermann Schmitz), the paper defines the atmospheric perception as a first pathemic impression and investigates the relationship between this kind of perception and the expressive qualities of the surrounding spaces. The aim is to understand atmospheres as (amodal, transmodal, sinaesthetic) affordances that permeate the lived space, namely as ‘ecological’ and affective invites or meanings which are ontologically rooted in things and quasi-things.
{"title":"Fisiognomica emozionale. Affordances, estasi, atmosfere","authors":"T. Griffero","doi":"10.13130/2240-9599/4912","DOIUrl":"https://doi.org/10.13130/2240-9599/4912","url":null,"abstract":"Through an atmospherological approach, primarily inspired by the so-called Aisthetik or New Aesthetics (Gernot Bohme) and the New Phenomenology (Hermann Schmitz), the paper defines the atmospheric perception as a first pathemic impression and investigates the relationship between this kind of perception and the expressive qualities of the surrounding spaces. The aim is to understand atmospheres as (amodal, transmodal, sinaesthetic) affordances that permeate the lived space, namely as ‘ecological’ and affective invites or meanings which are ontologically rooted in things and quasi-things.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"6 1","pages":"53-79"},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A. Beayaert-Geslin - M.G. Dondero, Art et sciences. Approches sémiotiques et philosophiques des images","authors":"Enrico Schirò","doi":"10.13130/2240-9599/4923","DOIUrl":"https://doi.org/10.13130/2240-9599/4923","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"275 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"C. Talon-Hugon, Morales de l'art","authors":"Serena Feloj","doi":"10.13130/2240-9599/4924","DOIUrl":"https://doi.org/10.13130/2240-9599/4924","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eduardo Farina, M. Farina, F. Campana, F. Iannelli, T. Pinkard, I. Testa, L. Corti
{"title":"Forum on Robert B. Pippin, \"After the beautiful\"","authors":"Eduardo Farina, M. Farina, F. Campana, F. Iannelli, T. Pinkard, I. Testa, L. Corti","doi":"10.13130/2240-9599/6679","DOIUrl":"https://doi.org/10.13130/2240-9599/6679","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66226181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes the characteristics and the purposes that the object “photography” has in Proust’s Recherche and in Roland Barthes’ La chambre claire , by recognizing within these two texts a the double challenge represented by photography itself: that of being a transparent object and that of allowing the fruition of the extra-temporality. Barthes’ realism, however, prevents the critic from considering in its full extent the cognitive value of photography, as configured in Proust’s text, which is placed in watermark in relation to the Barthes’ discourse. Proust’s complex position with respect to the object “photography”, which he criticizes, among many other reasons, for the snap-shot platitude, includes even a possible parallelism with the involuntary memory, since the heuristic meaning of photography is connected to the cognitive and affective dinamycs which guide our processes of remembrance and creative relationship with our own past.
{"title":"L'oggettività della fotografia e la conoscenza stereoscopica: da Proust a Barthes e ritorno","authors":"M. Piazza","doi":"10.13130/2240-9599/4536","DOIUrl":"https://doi.org/10.13130/2240-9599/4536","url":null,"abstract":"This article analyzes the characteristics and the purposes that the object “photography” has in Proust’s Recherche and in Roland Barthes’ La chambre claire , by recognizing within these two texts a the double challenge represented by photography itself: that of being a transparent object and that of allowing the fruition of the extra-temporality. Barthes’ realism, however, prevents the critic from considering in its full extent the cognitive value of photography, as configured in Proust’s text, which is placed in watermark in relation to the Barthes’ discourse. Proust’s complex position with respect to the object “photography”, which he criticizes, among many other reasons, for the snap-shot platitude, includes even a possible parallelism with the involuntary memory, since the heuristic meaning of photography is connected to the cognitive and affective dinamycs which guide our processes of remembrance and creative relationship with our own past.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":"92-105"},"PeriodicalIF":0.0,"publicationDate":"2014-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay describes some aspects of the cinematographic object understood not only as an artistic product to be evaluated, nor only in its narrative content, but as the center of a composite device. Such a device combines different elements: the film in its entirety, the author’s thoughts, and the fundamental experience of the viewer. Following Christian Metz’s perspective, the first result we may find is the recognition of a fundamental duality of the film: compared to other means of expression, the film stimulates many axes of perception while being at the same time less perceptual, because what is shown on the screen is always recorded, past and basically absent. This duplicity of cinema is connected to other issues psychoanalytic perspective offers convincing answers to: the 'paradox' of fiction; the spectator’s identification with his own eyes; the doubling of the distance from the cinematic images.
{"title":"Duplicità dell'oggetto filmico","authors":"D. Angelucci","doi":"10.13130/2240-9599/4528","DOIUrl":"https://doi.org/10.13130/2240-9599/4528","url":null,"abstract":"This essay describes some aspects of the cinematographic object understood not only as an artistic product to be evaluated, nor only in its narrative content, but as the center of a composite device. Such a device combines different elements: the film in its entirety, the author’s thoughts, and the fundamental experience of the viewer. Following Christian Metz’s perspective, the first result we may find is the recognition of a fundamental duality of the film: compared to other means of expression, the film stimulates many axes of perception while being at the same time less perceptual, because what is shown on the screen is always recorded, past and basically absent. This duplicity of cinema is connected to other issues psychoanalytic perspective offers convincing answers to: the 'paradox' of fiction; the spectator’s identification with his own eyes; the doubling of the distance from the cinematic images.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"5 1","pages":"53-63"},"PeriodicalIF":0.0,"publicationDate":"2014-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Photography incarnates a dream of transparency since, as Roland Barthes says, “a photograph is always invisible: it is not it that we see. In short, the referent adheres”. In this regard, he provides a strange example: “The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape”. In t his sense, photography perfectly realises the illusion of a support which is unveiled in its materiality in order to become a pure objectivity. According to Proust, this supposed transparency is destined to fail: no photograph, in the Recherche , ever leads us to a moment of recognition. It's as if photographs were not able to let the original rise up – in transparency – without operating some kind of alteration or modification. Proust’s scepticism toward photography is bound to a particular conception of time: he criticises in particular the instantane , a kind of image that pretends to extract a sole instant from the continual flux of time. The instantane, however, is not the only aspect of photography considered by Proust. Proust uses expressions like “cliche negatif”, “chambre noire interieure”, “entree condamnee”, to show us less the description of a “photo-graphy” (light-writing) than that of a “skia-graphy” (shadows-writing). Finally, I consider the topos of the “not developed” photograph with relation to the Proustian conception of memory, that is, a memory which, according to Walter Benjamin, is deeply connected with oblivion and with the shadows of our experience.
{"title":"L’objet feuilleté. Sulla fotografia tra Barthes e Proust","authors":"Sara Guindani-Riquier","doi":"10.13130/2240-9599/4531","DOIUrl":"https://doi.org/10.13130/2240-9599/4531","url":null,"abstract":"Photography incarnates a dream of transparency since, as Roland Barthes says, “a photograph is always invisible: it is not it that we see. In short, the referent adheres”. In this regard, he provides a strange example: “The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape”. In t his sense, photography perfectly realises the illusion of a support which is unveiled in its materiality in order to become a pure objectivity. According to Proust, this supposed transparency is destined to fail: no photograph, in the Recherche , ever leads us to a moment of recognition. It's as if photographs were not able to let the original rise up – in transparency – without operating some kind of alteration or modification. Proust’s scepticism toward photography is bound to a particular conception of time: he criticises in particular the instantane , a kind of image that pretends to extract a sole instant from the continual flux of time. The instantane, however, is not the only aspect of photography considered by Proust. Proust uses expressions like “cliche negatif”, “chambre noire interieure”, “entree condamnee”, to show us less the description of a “photo-graphy” (light-writing) than that of a “skia-graphy” (shadows-writing). Finally, I consider the topos of the “not developed” photograph with relation to the Proustian conception of memory, that is, a memory which, according to Walter Benjamin, is deeply connected with oblivion and with the shadows of our experience.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66225545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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