The importance of the Lectura Dantis for Schelling’s philosophy, at least between Das erste Systemprogramm (First System Programme) and Die Weltalter (The Ages of the World), has for many years now been clearly highlighted by Wolfram Hogrebe and there is no need to repeat here his reflections on it. I believe the link that ties Schelling and Dante goes beyond these limits and constitutes a special guideline to understanding general but fundamental key junctures in the maturing of his philosophical system, both in terms of Fichte and Hegel. This essay focuses on showing a viable course of investigation on this, with particular attention to Schelling’s philosophy of nature and the role assigned by him to Dante in his general concept of the myth.
{"title":"Schelling’s Dante","authors":"Massimo Cacciari","doi":"10.4000/ESTETICA.7046","DOIUrl":"https://doi.org/10.4000/ESTETICA.7046","url":null,"abstract":"The importance of the Lectura Dantis for Schelling’s philosophy, at least between Das erste Systemprogramm (First System Programme) and Die Weltalter (The Ages of the World), has for many years now been clearly highlighted by Wolfram Hogrebe and there is no need to repeat here his reflections on it. I believe the link that ties Schelling and Dante goes beyond these limits and constitutes a special guideline to understanding general but fundamental key junctures in the maturing of his philosophical system, both in terms of Fichte and Hegel. This essay focuses on showing a viable course of investigation on this, with particular attention to Schelling’s philosophy of nature and the role assigned by him to Dante in his general concept of the myth.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"74 1","pages":"12-21"},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42779124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The relationship between nature and its symbolic and artistic expression is at the centre of Goethe’s reflections during and after his travels in Italy and of Schelling’s thoughts until the period of his philosophy of identity. Here, as is known, Schelling tries to accomplish the project of a new Renaissance, where we can witness an infinite system of correspondences between ideal and real. The symbolical continuity and integration between the two levels includes the presupposition that time and eternity are united. With his dialog Clara or, On Nature’s connection to the spirit world the binding alliance between nature and spirit, on which the possibility of the symbol and then of a new modern mythology is grounded, collapses.
{"title":"Goethe, Schelling and the Melancholy of Nature","authors":"Federico Vercellone","doi":"10.4000/ESTETICA.7128","DOIUrl":"https://doi.org/10.4000/ESTETICA.7128","url":null,"abstract":"The relationship between nature and its symbolic and artistic expression is at the centre of Goethe’s reflections during and after his travels in Italy and of Schelling’s thoughts until the period of his philosophy of identity. Here, as is known, Schelling tries to accomplish the project of a new Renaissance, where we can witness an infinite system of correspondences between ideal and real. The symbolical continuity and integration between the two levels includes the presupposition that time and eternity are united. With his dialog Clara or, On Nature’s connection to the spirit world the binding alliance between nature and spirit, on which the possibility of the symbol and then of a new modern mythology is grounded, collapses.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45932886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The topic of this essay concerns the interest that the conception of nature in Schelling has aroused in the philosophical culture in the nineteenth and twentieth centuries. I propose to examine the retrieval of the philosophy of the nature of Schelling from the history of philosophy and history of science standpoints. Therefore, my paper will be divided into three parts. In particular, I will start by examining the state of the art on the reevaluation of Schelling in the context of the contemporary philosophy of science; then I will pass by analyzing the relationship between Schelling’s thought and the quantum physics according to Slavoj Žižek and Karen Barad approach; finally, I will conclude by going back to the Kantian source of this branch of study.
{"title":"Entanglement, Agency and Phenomena. Quantum Physics and Philosophy after Schelling","authors":"G. Pareti","doi":"10.4000/ESTETICA.7579","DOIUrl":"https://doi.org/10.4000/ESTETICA.7579","url":null,"abstract":"The topic of this essay concerns the interest that the conception of nature in Schelling has aroused in the philosophical culture in the nineteenth and twentieth centuries. I propose to examine the retrieval of the philosophy of the nature of Schelling from the history of philosophy and history of science standpoints. Therefore, my paper will be divided into three parts. In particular, I will start by examining the state of the art on the reevaluation of Schelling in the context of the contemporary philosophy of science; then I will pass by analyzing the relationship between Schelling’s thought and the quantum physics according to Slavoj Žižek and Karen Barad approach; finally, I will conclude by going back to the Kantian source of this branch of study.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Schelling argued that early modern science had discarded the ancient teaching of matter – the world soul (die Weltseele or anima mundi, the unity of soul and body, eternity and time, absolute possibility and existence) – «into the common grave they dug for nature and have brought about the death of all science». In order to put science on a more philosophical tract, Schelling retrieved the work of Giordano Bruno as part of his «handful» of thinkers who in a contemporary context appear on the border between an ancient but still vital sense of philosophy and the emerging scientific study of nature.
{"title":"Who is Schelling’s Bruno?","authors":"J. Wirth","doi":"10.4000/ESTETICA.7106","DOIUrl":"https://doi.org/10.4000/ESTETICA.7106","url":null,"abstract":"Schelling argued that early modern science had discarded the ancient teaching of matter – the world soul (die Weltseele or anima mundi, the unity of soul and body, eternity and time, absolute possibility and existence) – «into the common grave they dug for nature and have brought about the death of all science». In order to put science on a more philosophical tract, Schelling retrieved the work of Giordano Bruno as part of his «handful» of thinkers who in a contemporary context appear on the border between an ancient but still vital sense of philosophy and the emerging scientific study of nature.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"74 1","pages":"181-190"},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44849569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After preliminarily pointing to the undeniable differences between Jonas’ philosophical biology and Schelling’s philosophy of nature, I contend that, besides their divergencies, the two philosophers agree on several important points. I then show to what extent, based on these elements of convergence, their two approaches could even be taken as complementary. In the core of my paper I lay emphasis on what I believe to be the main ground for the complementarity of the two philosophical inquiries, that is to say, their common radicalization and superseding of Kant’s principle of self-organization. In this respect – all differences considered – they both can be said to delineate a philosophy of the organic that can fruitfully contribute, even better than Kant’s input, to the currently widely discussed topic of biological autonomy.
{"title":"The Paradox of the Living: Jonas and Schelling on the Organism’s Autonomy","authors":"F. Michelini","doi":"10.4000/ESTETICA.7101","DOIUrl":"https://doi.org/10.4000/ESTETICA.7101","url":null,"abstract":"After preliminarily pointing to the undeniable differences between Jonas’ philosophical biology and Schelling’s philosophy of nature, I contend that, besides their divergencies, the two philosophers agree on several important points. I then show to what extent, based on these elements of convergence, their two approaches could even be taken as complementary. In the core of my paper I lay emphasis on what I believe to be the main ground for the complementarity of the two philosophical inquiries, that is to say, their common radicalization and superseding of Kant’s principle of self-organization. In this respect – all differences considered – they both can be said to delineate a philosophy of the organic that can fruitfully contribute, even better than Kant’s input, to the currently widely discussed topic of biological autonomy.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"74 1","pages":"139-157"},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48178033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For some decades now, a transformation has been underway that is no less dramatic than the Industrial Revolution, and that just like the latter requires time to be conceptualized. When one seeks to capture the essence of an unprecedented phenomenon, one always uses several, partial, esoteric names: virtuality, Collective Intelligence, Internet, web, big data, artificial intelligence, game… In short, we are all unwittingly drafting a new Visnusahasranāma: a collective poem made up of books, essays, articles, debates, and posts that sings about the thousand names of our Visnu, whose essence however remains unknown. Trying to find a name for this hidden god, I will start from an examination of the current revolution, trying to grasp its specificity, and consequently also its essential differences from the Industrial Revolution; secondly, I will focus on the metaphysical revelation made possible by this revolution (which, like any revolution, does not really transform the world, but rather manifests essential structures that were already present in it, in a hidden or only hinted form); finally, I will devote myself to speculation as to the decisions we must take with respect to the future and the political goals to be pursued with respect to this new world we are living in.
{"title":"Hysteresis - Metaphysics of the Web","authors":"M. Ferraris","doi":"10.4000/ESTETICA.7070","DOIUrl":"https://doi.org/10.4000/ESTETICA.7070","url":null,"abstract":"For some decades now, a transformation has been underway that is no less dramatic than the Industrial Revolution, and that just like the latter requires time to be conceptualized. When one seeks to capture the essence of an unprecedented phenomenon, one always uses several, partial, esoteric names: virtuality, Collective Intelligence, Internet, web, big data, artificial intelligence, game… In short, we are all unwittingly drafting a new Visnusahasranāma: a collective poem made up of books, essays, articles, debates, and posts that sings about the thousand names of our Visnu, whose essence however remains unknown. Trying to find a name for this hidden god, I will start from an examination of the current revolution, trying to grasp its specificity, and consequently also its essential differences from the Industrial Revolution; secondly, I will focus on the metaphysical revelation made possible by this revolution (which, like any revolution, does not really transform the world, but rather manifests essential structures that were already present in it, in a hidden or only hinted form); finally, I will devote myself to speculation as to the decisions we must take with respect to the future and the political goals to be pursued with respect to this new world we are living in.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"74 1","pages":"60-90"},"PeriodicalIF":0.3,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46174755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Il fil rouge che lega le quattro sezioni del volume, che raccoglie le relazioni presentate al convegno internazionale Interactive Imagination (Roma, 6-8 giugno 2016), con l’aggiunta di contributi dei curatori e di studiosi che pure vi hanno partecipato, e la nozione di immaginazione, investigata da diverse prospettive teorico-filosofiche, correlata a quella di ambiente, anch’essa approfondita sotto diversi aspetti. Il tema mediale compare, talvolta esplicito talvolta in filigrana, con sfacce...
{"title":"Pietro Montani, Dario Cecchi, Martino Feyles, Ambienti mediali","authors":"Filomena Diodato","doi":"10.4000/ESTETICA.6836","DOIUrl":"https://doi.org/10.4000/ESTETICA.6836","url":null,"abstract":"Il fil rouge che lega le quattro sezioni del volume, che raccoglie le relazioni presentate al convegno internazionale Interactive Imagination (Roma, 6-8 giugno 2016), con l’aggiunta di contributi dei curatori e di studiosi che pure vi hanno partecipato, e la nozione di immaginazione, investigata da diverse prospettive teorico-filosofiche, correlata a quella di ambiente, anch’essa approfondita sotto diversi aspetti. Il tema mediale compare, talvolta esplicito talvolta in filigrana, con sfacce...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"166-174"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45045358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient.
{"title":"Towards an ontology of digital arts. Media environments, interactive processes and effects of presence","authors":"A. Giomi","doi":"10.4000/ESTETICA.6715","DOIUrl":"https://doi.org/10.4000/ESTETICA.6715","url":null,"abstract":"During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"47-65"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47317405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Paul Ricœur’s ontology of art is derived from his hermeneutics, and Ricœur’s hermeneutics bridges his idea of aesthetics and ontology. Paul Ricœur’s ontology of art (in which the concept of refiguration plays a central role) sheds a new light in understanding and experiencing works of art. Ricœur discusses the metaphorical reference of poetic texts that opens up the realm of possible worlds. This idea of metaphoric reference can be extended to works of art as well. Both fictional narratives and artworks may be defined by the formula seeing as, and this formula represents their ontological status that may be defined as being as. Paul Ricœur argues that non-linguistic symbolic systems such as gestures, sounds and pictures also have the power to make and remake the world. Ricœur’s narrative theory can be applied to both to literature and visual arts as it identifies narrative capacity of artworks. Ricœur introduces the concept of refiguration that includes the transformation of reality, which is first prefigured in the consciousness of the author (mimesis 1). It is then configured in the artwork (mimesis 2), and finally into the experience of the viewer or listener of the artwork (mimesis 3), which leads to comprehension.
Paul Ricœur的艺术本体论源于他的解释学，Ricōur解释学将他的美学思想与本体论联系在一起。Paul Ricœur的艺术本体论（其中重塑的概念起着核心作用）为理解和体验艺术作品提供了新的视角。Ricōur讨论了诗歌文本的隐喻参考，打开了可能世界的领域。这种隐喻参考的思想也可以扩展到艺术作品中。虚构叙事和艺术品都可以用“视为”这个公式来定义，这个公式代表了它们的本体论地位，可以被定义为“存在”。Paul Ricœur认为，手势、声音和图片等非语言符号系统也有能力创造和重塑世界。Ricœur的叙事理论可以应用于文学和视觉艺术，因为它确定了艺术品的叙事能力。Ricœur介绍了改造的概念，其中包括对现实的改造，这首先是在作者的意识中预先设想的（模仿1）。然后，它被配置在艺术品中（模仿2），并最终被配置到艺术品的观看者或听众的体验中（模仿3），这导致理解。
{"title":"Paul Ricœur’s hermeneutics as a bridge between aesthetics and ontology","authors":"S. Ivic","doi":"10.4000/ESTETICA.6738","DOIUrl":"https://doi.org/10.4000/ESTETICA.6738","url":null,"abstract":"Paul Ricœur’s ontology of art is derived from his hermeneutics, and Ricœur’s hermeneutics bridges his idea of aesthetics and ontology. Paul Ricœur’s ontology of art (in which the concept of refiguration plays a central role) sheds a new light in understanding and experiencing works of art. Ricœur discusses the metaphorical reference of poetic texts that opens up the realm of possible worlds. This idea of metaphoric reference can be extended to works of art as well. Both fictional narratives and artworks may be defined by the formula seeing as, and this formula represents their ontological status that may be defined as being as. Paul Ricœur argues that non-linguistic symbolic systems such as gestures, sounds and pictures also have the power to make and remake the world. Ricœur’s narrative theory can be applied to both to literature and visual arts as it identifies narrative capacity of artworks. Ricœur introduces the concept of refiguration that includes the transformation of reality, which is first prefigured in the consciousness of the author (mimesis 1). It is then configured in the artwork (mimesis 2), and finally into the experience of the viewer or listener of the artwork (mimesis 3), which leads to comprehension.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"66-78"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49499694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the last few decades, research on auditory perception has increased a great deal, treating a wide range of topics from different perspectives. Empirical research has provided a detailed account of sound perception in neurobiological terms. From a different perspective, the phenomenology of music has focused on the experience of auditory perception, highlighting the conditions that allow for the perception of sounds. Starting from the work by Giovanni Piana, I argue that sound perception is rooted in the experiential, from which arise the biological and cultural structures that allow for it, with no priority of one structure over another, but rather interconnections and reciprocal conditioning. I then introduce ‘biological constraints’ and ‘phenomenological rules’, as the key notions that any conceptual investigation on sound perception should focus on in order to achieve a more comprehensive understanding of musical listening. Biological constraints are ‘a priori’ conditions and are mainly due to the biology of the human perceiving system. Phenomenological rules emerge from the constitution of the auditory object according to subjective experience. Combining knowledge from neurosciences and phenomenology, my work aims also at fostering an innovative approach to the aesthetics of music that takes advantage of empirical progress in current research on auditory perception.
{"title":"Vincoli biologici e regole fenomenologiche. Osservazioni sulla percezione del suono","authors":"Nicola Di Stefano","doi":"10.4000/ESTETICA.6826","DOIUrl":"https://doi.org/10.4000/ESTETICA.6826","url":null,"abstract":"Over the last few decades, research on auditory perception has increased a great deal, treating a wide range of topics from different perspectives. Empirical research has provided a detailed account of sound perception in neurobiological terms. From a different perspective, the phenomenology of music has focused on the experience of auditory perception, highlighting the conditions that allow for the perception of sounds. Starting from the work by Giovanni Piana, I argue that sound perception is rooted in the experiential, from which arise the biological and cultural structures that allow for it, with no priority of one structure over another, but rather interconnections and reciprocal conditioning. I then introduce ‘biological constraints’ and ‘phenomenological rules’, as the key notions that any conceptual investigation on sound perception should focus on in order to achieve a more comprehensive understanding of musical listening. Biological constraints are ‘a priori’ conditions and are mainly due to the biology of the human perceiving system. Phenomenological rules emerge from the constitution of the auditory object according to subjective experience. Combining knowledge from neurosciences and phenomenology, my work aims also at fostering an innovative approach to the aesthetics of music that takes advantage of empirical progress in current research on auditory perception.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"73 1","pages":"152-165"},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47835865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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