Pub Date : 2019-12-23DOI: 10.13130/2240-9599/12736
A. D'Andrea
The quality of working conditions have a direct impact on the individuals’ quality of life and level of well-being. Attention to well-being in work environments has become a matter of great interest for legislators. However, the well-being concept has not yet found a legal definition. The first commitment to achieve a global well-being strategy was made by the World Health Organisation. The European Union claims that a positive relationship between work and well-being is a necessary factor to reach greater economic and social progress, since full and quality employment is one of the main elements of economic stability and social cohesion in a country. The Italian regulatory framework consists of various legislative provisions: the importance of the workers’ good health and quality of life has generated a complex regulatory system. In the digital society the potential health risks associated with the use of IT tools and the risk of an increased overlapping between work and personal life should not be overlooked.
{"title":"ASSESSING AN INDIVIDUAL’S WELL-BEING THROUGH THE QUALITY OF THEIR LIFE AND WORK","authors":"A. D'Andrea","doi":"10.13130/2240-9599/12736","DOIUrl":"https://doi.org/10.13130/2240-9599/12736","url":null,"abstract":"The quality of working conditions have a direct impact on the individuals’ quality of life and level of well-being. Attention to well-being in work environments has become a matter of great interest for legislators. However, the well-being concept has not yet found a legal definition. The first commitment to achieve a global well-being strategy was made by the World Health Organisation. The European Union claims that a positive relationship between work and well-being is a necessary factor to reach greater economic and social progress, since full and quality employment is one of the main elements of economic stability and social cohesion in a country. The Italian regulatory framework consists of various legislative provisions: the importance of the workers’ good health and quality of life has generated a complex regulatory system. In the digital society the potential health risks associated with the use of IT tools and the risk of an increased overlapping between work and personal life should not be overlooked.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"15 1","pages":"1-15"},"PeriodicalIF":0.0,"publicationDate":"2019-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49609692","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12077
Laura Cesco-Frare
{"title":"O. Boulnois – I. Moulin (édité par), Le beau et la beauté au Moyen Âge","authors":"Laura Cesco-Frare","doi":"10.13130/2240-9599/12077","DOIUrl":"https://doi.org/10.13130/2240-9599/12077","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41457971","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12076
M. Piazza
1. Fotoletteratura e fototestualità Da alcuni anni è andata aumentando l’attenzione degli studiosi verso tutte quelle forme di espressione in cui sono ibridati testo e immagine, in particolar modo quella fotografica allorché assume un ruolo di primo piano nell’economia del testo letterario. Ciò corrisponde a un uso sempre più consapevole e massiccio delle fotografie e di altri documenti iconici soprattutto nella composizione di racconti e romanzi. Per indicare questo fenomeno, che affonda le sue radici fin nei movimenti avanguardistici del primo Novecento, in ambito francese fin dalla fine degli anni Ottanta circola il termine «photolittérature», che si è definitivamente imposto negli ultimi quindici anni presso gli specialisti d’oltralpe (Montier 2015, 20). Nell’organizzare un convegno svoltosi a Parigi in tempi recenti, abbiamo però preferito servirci dell’espressione, di nostro conio, «phototextualité», che riprendiamo in questa sede nella sua forma italiana1. Mentre in Francia era sconosciuta quando l’abbiamo presentata al pubblico, in Italia era già stata impiegata nel quadro di un convegno svoltosi a Roma nel 2010, all’interno di un importante contributo di Michele Cometa sulla classificazione dei fototesti secondo tipologie (Cometa 2011). Se si risale indietro, si può constatare che negli USA fin dalla metà degli anni Novanta del secolo scorso circola il termine ‘phototextualities’ (Hugues, Noble 2003; Bryant 1996). Ma tornando al nostro termine, perché ci pare più convincente del suo analogo e più diffuso ‘photolittérature’/‘fotoletteratura’? Perché è maggiormente adatto a indicare le trasformazioni subite dal medium letterario ad opera dell’introduzione della fotografia, così che si può parlare di fototesti in letteratura e di fototestualità letteraria, senza far coincidere fototestuali-
{"title":"Tra verità e finzione: fototestualità e implicazioni filosofiche","authors":"M. Piazza","doi":"10.13130/2240-9599/12076","DOIUrl":"https://doi.org/10.13130/2240-9599/12076","url":null,"abstract":"1. Fotoletteratura e fototestualità Da alcuni anni è andata aumentando l’attenzione degli studiosi verso tutte quelle forme di espressione in cui sono ibridati testo e immagine, in particolar modo quella fotografica allorché assume un ruolo di primo piano nell’economia del testo letterario. Ciò corrisponde a un uso sempre più consapevole e massiccio delle fotografie e di altri documenti iconici soprattutto nella composizione di racconti e romanzi. Per indicare questo fenomeno, che affonda le sue radici fin nei movimenti avanguardistici del primo Novecento, in ambito francese fin dalla fine degli anni Ottanta circola il termine «photolittérature», che si è definitivamente imposto negli ultimi quindici anni presso gli specialisti d’oltralpe (Montier 2015, 20). Nell’organizzare un convegno svoltosi a Parigi in tempi recenti, abbiamo però preferito servirci dell’espressione, di nostro conio, «phototextualité», che riprendiamo in questa sede nella sua forma italiana1. Mentre in Francia era sconosciuta quando l’abbiamo presentata al pubblico, in Italia era già stata impiegata nel quadro di un convegno svoltosi a Roma nel 2010, all’interno di un importante contributo di Michele Cometa sulla classificazione dei fototesti secondo tipologie (Cometa 2011). Se si risale indietro, si può constatare che negli USA fin dalla metà degli anni Novanta del secolo scorso circola il termine ‘phototextualities’ (Hugues, Noble 2003; Bryant 1996). Ma tornando al nostro termine, perché ci pare più convincente del suo analogo e più diffuso ‘photolittérature’/‘fotoletteratura’? Perché è maggiormente adatto a indicare le trasformazioni subite dal medium letterario ad opera dell’introduzione della fotografia, così che si può parlare di fototesti in letteratura e di fototestualità letteraria, senza far coincidere fototestuali-","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"14 1","pages":"109-124"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44595590","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12078
Stefano Oliva
{"title":"E. Lewis, Intents & Purposes. Philosophy and aesthetics of improvisation","authors":"Stefano Oliva","doi":"10.13130/2240-9599/12078","DOIUrl":"https://doi.org/10.13130/2240-9599/12078","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41911931","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12071
G. L. Rocca
With the Science of Logic , Hegel poses a radical challenge to philosophy: a self-presentation of thought that, by not assuming anything outside itself, achieves its self-knowledge. From the possibility of such a project depends that of the autonomy of thought, that is, of a thought that gives itself its own law. Some classical readings consider this enterprise to be unsuccesful or not to be fully accomplished in the Logic . According to Dieter Henrich, Hegel's Logic would fall into a circle, because (although without external assumption) would be burdened by the presupposition of the structure of thought itself, which should rather result from the logical process. For Robert B. Pippin or Terry Pinkard, instead, the instance of autonomy of thought would be realized not in the logic, but only at the level of the spirit. In contrast to such interpretations, we will try to show that precisely in the Logic the thought determines itself as autonomous. In its self-presentation thought, that has itself as its object, produces its own structures, which are not prior to the movement (it produces its own form or law). And once it has come to know itself as such a process, thought ceases to presuppose itself as an object (it emancipates itself) and poses its own form for itself (it gives itself the law).
{"title":"La «Scienza della logica» di Hegel: autonomia come emancipazione del pensiero","authors":"G. L. Rocca","doi":"10.13130/2240-9599/12071","DOIUrl":"https://doi.org/10.13130/2240-9599/12071","url":null,"abstract":"With the Science of Logic , Hegel poses a radical challenge to philosophy: a self-presentation of thought that, by not assuming anything outside itself, achieves its self-knowledge. From the possibility of such a project depends that of the autonomy of thought, that is, of a thought that gives itself its own law. Some classical readings consider this enterprise to be unsuccesful or not to be fully accomplished in the Logic . According to Dieter Henrich, Hegel's Logic would fall into a circle, because (although without external assumption) would be burdened by the presupposition of the structure of thought itself, which should rather result from the logical process. For Robert B. Pippin or Terry Pinkard, instead, the instance of autonomy of thought would be realized not in the logic, but only at the level of the spirit. In contrast to such interpretations, we will try to show that precisely in the Logic the thought determines itself as autonomous. In its self-presentation thought, that has itself as its object, produces its own structures, which are not prior to the movement (it produces its own form or law). And once it has come to know itself as such a process, thought ceases to presuppose itself as an object (it emancipates itself) and poses its own form for itself (it gives itself the law).","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46894582","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12074
C. Germini
Is Deleuze really in debt to Kant? If so, in which feature of Deleuze's thought can it be traced? The Deleuzian idea of philosophy meant as a creative process for constructing concepts may be deeply rooted in Kant's thought. In his lectures on Kant held at Vincennes in 1978, he acknowledged that Kant first attributed the act of thinking a new absolute meaning: the power to create concepts and no longer a vague meaning to create images or to remember. According to Deleuze the originality of Kant's philosophy lies in creating new words and giving them a new meaning. Although Deleuze had dedicated Kant a significant study in 1963 and four lectures at Vincennes, he did not fully admit to being influenced by Kant, not even in What is Philosophy? , the last monography he wrote with Felix Guattari.
{"title":"Giudizio riflettente e creazione di concetti. Il debito deleuziano verso Kant","authors":"C. Germini","doi":"10.13130/2240-9599/12074","DOIUrl":"https://doi.org/10.13130/2240-9599/12074","url":null,"abstract":"Is Deleuze really in debt to Kant? If so, in which feature of Deleuze's thought can it be traced? The Deleuzian idea of philosophy meant as a creative process for constructing concepts may be deeply rooted in Kant's thought. In his lectures on Kant held at Vincennes in 1978, he acknowledged that Kant first attributed the act of thinking a new absolute meaning: the power to create concepts and no longer a vague meaning to create images or to remember. According to Deleuze the originality of Kant's philosophy lies in creating new words and giving them a new meaning. Although Deleuze had dedicated Kant a significant study in 1963 and four lectures at Vincennes, he did not fully admit to being influenced by Kant, not even in What is Philosophy? , the last monography he wrote with Felix Guattari.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45775674","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12070
Amalia Salvestrini
The essay outlines the debate around the question on the existence of Medieval Aesthetics starting from the publication of Arte e bellezza nell’estetica medievale by Umberto Eco (1987). Since the last decade of the 20th century, the question on Medieval Aesthetics receives a particular attention from a methodological point of view also because it is close to different disciplines as History, History of Art, Aesthetics and History of Philosophy. A renewed interest in the image theme, in History and History of Art, permits to study the pre-modern period without using anachronistic categories like that of “Art”. In the field of Aesthetics scholars rethink how to approach the question about its history. In this context, History of Philosophy reviews its own categories asking how it is possible to talk about thematic objects that traditionally belong to Aesthetics.
本文从埃科（Umberto Eco）1987年出版的《中世纪美学》（Arte e bellezza nell’estetica medievale）一书开始，概述了围绕中世纪美学存在问题的争论。20世纪最后10年以来，中世纪美学问题从方法论的角度受到特别关注，这也是因为它与历史、艺术史、美学和哲学史等不同学科关系密切。在《历史与艺术史》中，人们对图像主题重新产生了兴趣，这使得我们可以在不使用“艺术”等不合时宜的类别的情况下研究前现代时期。在美学领域，学者们重新思考如何处理其历史问题。在这种背景下，哲学史回顾了它自己的类别，询问如何可能谈论传统上属于美学的主题对象。
{"title":"Sull’estetica medievale dopo Eco. Un percorso storiografico","authors":"Amalia Salvestrini","doi":"10.13130/2240-9599/12070","DOIUrl":"https://doi.org/10.13130/2240-9599/12070","url":null,"abstract":"The essay outlines the debate around the question on the existence of Medieval Aesthetics starting from the publication of Arte e bellezza nell’estetica medievale by Umberto Eco (1987). Since the last decade of the 20th century, the question on Medieval Aesthetics receives a particular attention from a methodological point of view also because it is close to different disciplines as History, History of Art, Aesthetics and History of Philosophy. A renewed interest in the image theme, in History and History of Art, permits to study the pre-modern period without using anachronistic categories like that of “Art”. In the field of Aesthetics scholars rethink how to approach the question about its history. In this context, History of Philosophy reviews its own categories asking how it is possible to talk about thematic objects that traditionally belong to Aesthetics.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":"14 1","pages":"1-22"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45520288","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12075
S. Chiodo
The aim of the article is reasoning on an analogy which may help understand what an algorithm can do and, especially, cannot do. The analogy is given by Poe’s Philosophy of composition , in which, by making reference to his poem The raven , he argues for a singular strategy of composition we may compare with an algorithmic writing. Keywords Algorithm, Philosophy of technology, Poe
{"title":"L’algoritmo di Poe (e il destino del logos)","authors":"S. Chiodo","doi":"10.13130/2240-9599/12075","DOIUrl":"https://doi.org/10.13130/2240-9599/12075","url":null,"abstract":"The aim of the article is reasoning on an analogy which may help understand what an algorithm can do and, especially, cannot do. The analogy is given by Poe’s Philosophy of composition , in which, by making reference to his poem The raven , he argues for a singular strategy of composition we may compare with an algorithmic writing. Keywords Algorithm, Philosophy of technology, Poe","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48683346","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12073
Gemma Zaganelli
In the cubist expression of the early twentieth century, thought begins to play a fundamental role in the creative process. The reason lies in the fact that it is a revolution of thought, even before an aesthetic revolution. It is the basic concept that changes, thanks to the reflection that, unknowingly or not, it takes its moves from the thought of men of the past, including Augustine, Plato, Aristotle, Descartes, but also Husserl, Hildebrand, Bergson. This is because every human expression is the result of concepts studied and observed, deepened and challenged. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. In the particular case of the cubist sculptors, the expressive solutions they adopt are consequent to a new way of implying the world and the intellectualistic phenomena that accompany its evolution. Keywords: Cubism; Phenomenology of Cubism; Cubist painting; Cubist sculpture.
{"title":"Cubismo: l’arte del pensiero, l’esperienza del reale","authors":"Gemma Zaganelli","doi":"10.13130/2240-9599/12073","DOIUrl":"https://doi.org/10.13130/2240-9599/12073","url":null,"abstract":"In the cubist expression of the early twentieth century, thought begins to play a fundamental role in the creative process. The reason lies in the fact that it is a revolution of thought, even before an aesthetic revolution. It is the basic concept that changes, thanks to the reflection that, unknowingly or not, it takes its moves from the thought of men of the past, including Augustine, Plato, Aristotle, Descartes, but also Husserl, Hildebrand, Bergson. This is because every human expression is the result of concepts studied and observed, deepened and challenged. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. In the particular case of the cubist sculptors, the expressive solutions they adopt are consequent to a new way of implying the world and the intellectualistic phenomena that accompany its evolution. Keywords: Cubism; Phenomenology of Cubism; Cubist painting; Cubist sculpture.","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47358307","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}
Pub Date : 2019-08-12DOI: 10.13130/2240-9599/12079
Leonardo Lenner
{"title":"J. Rancière, Les temps modernes. Art, temps, politique","authors":"Leonardo Lenner","doi":"10.13130/2240-9599/12079","DOIUrl":"https://doi.org/10.13130/2240-9599/12079","url":null,"abstract":"","PeriodicalId":53793,"journal":{"name":"Lebenswelt-Aesthetics and Philosophy of Experience","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44935109","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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