The concept features as a vital element in architectural protocol and its vocabulary. If architecture and philosophy are defined as creation of concepts, then they are the terra nullius shared by both disciplines. By distinguishing the architectural concept from its philosophical counterpart, this paper analyzes the former as an entity that animates and directs a project as the documental prefiguration of an architectural object. In a more radical move, we consider architecture itself as a concept, that is, what makes architecture what it is and what this discipline can become tomorrow. In addition to decisively participating in the process of generating an object yet to be constructed (the fetus of a building), on a correlative level, the concept has an essential role in theoretical self-thematization of architecture and guards the future of the architectural profession as an autonomous intellectual discipline.
{"title":"The concept: a map for generations","authors":"Snežana Vesnić, Miloš Ćipranić","doi":"10.4000/estetica.5529","DOIUrl":"https://doi.org/10.4000/estetica.5529","url":null,"abstract":"The concept features as a vital element in architectural protocol and its vocabulary. If architecture and philosophy are defined as creation of concepts, then they are the terra nullius shared by both disciplines. By distinguishing the architectural concept from its philosophical counterpart, this paper analyzes the former as an entity that animates and directs a project as the documental prefiguration of an architectural object. In a more radical move, we consider architecture itself as a concept, that is, what makes architecture what it is and what this discipline can become tomorrow. In addition to decisively participating in the process of generating an object yet to be constructed (the fetus of a building), on a correlative level, the concept has an essential role in theoretical self-thematization of architecture and guards the future of the architectural profession as an autonomous intellectual discipline.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41980098","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 purpose of this paper is to re-explore the relationship between utopia and architecture, trying first and foremost to challenge the way utopia has been conceived by architectural thought: i.e., as the prefiguration of a future seen as an ‘otherness’ distinct from the present, as far as the totality of its spatial, social, and political dimensions are concerned. Such vision – as we will argue – turns out to be deeply linked to a design logic of ‘projection’ and ‘prescription’; this, however, is not the only possible logic of design. Through a reflection upon some contemporary architectural practices, we will try to highlight a new horizon for design action, in which even utopia abandons its traditional ‘projective’ role and takes on a new meaning: rather than being the non-place of a possible future, utopia stands for what doesn’t have place in the present but can emerge from its alteration. Such notion of utopia as a form of ‘situated critique’, in a concrete space and time, helps to dig more deeply into the political potential of many contemporary forms of architectural and urban design.
{"title":"Dar luogo a ciò che non ha luogo: utopia e prototyping","authors":"R. Ríspoli, Ester Jordana Lluch","doi":"10.4000/estetica.5576","DOIUrl":"https://doi.org/10.4000/estetica.5576","url":null,"abstract":"The purpose of this paper is to re-explore the relationship between utopia and architecture, trying first and foremost to challenge the way utopia has been conceived by architectural thought: i.e., as the prefiguration of a future seen as an ‘otherness’ distinct from the present, as far as the totality of its spatial, social, and political dimensions are concerned. Such vision – as we will argue – turns out to be deeply linked to a design logic of ‘projection’ and ‘prescription’; this, however, is not the only possible logic of design. Through a reflection upon some contemporary architectural practices, we will try to highlight a new horizon for design action, in which even utopia abandons its traditional ‘projective’ role and takes on a new meaning: rather than being the non-place of a possible future, utopia stands for what doesn’t have place in the present but can emerge from its alteration. Such notion of utopia as a form of ‘situated critique’, in a concrete space and time, helps to dig more deeply into the political potential of many contemporary forms of architectural and urban design.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42339141","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}
In its "futural" use, the future perfect represents the past of the future. In the architectural and urban project, which imagines the future of cities and territories, a future perfect is always at stake: there is past in the future, there is future in the past. The project of a spatial transformation, always happening as a rupture in the temporal continuum, doesn't deploy an homogeneous and linear time, but rather a bundle of temporalities working according to different paces. In such a perspective the project has less to be meant as an image of a future state of the world, rather than an action orientation. The project can become an opening and a “social experimentation”, beyond the strictly technical and bureaucratic rationale, but also beyond the practice and market boundaries.
{"title":"Futuri anteriori: il tempo del progetto","authors":"G. Pasqui","doi":"10.4000/estetica.5481","DOIUrl":"https://doi.org/10.4000/estetica.5481","url":null,"abstract":"In its \"futural\" use, the future perfect represents the past of the future. In the architectural and urban project, which imagines the future of cities and territories, a future perfect is always at stake: there is past in the future, there is future in the past. The project of a spatial transformation, always happening as a rupture in the temporal continuum, doesn't deploy an homogeneous and linear time, but rather a bundle of temporalities working according to different paces. In such a perspective the project has less to be meant as an image of a future state of the world, rather than an action orientation. The project can become an opening and a “social experimentation”, beyond the strictly technical and bureaucratic rationale, but also beyond the practice and market boundaries.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48527310","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}
Designing a pension system is both a complex endeavor and a long lasting legacy. Complexity stems from the many trade-offs that conceiving a pension system entail and from how these initial decisions affect the social and economic behavioral responses of workers and retirees. Policy-makers planning a pension system have to evaluate its internal economic consistency, but also these feedbacks. Economic and demographic models that allow a quantitative evaluation of these costs and benefits are required. More than ever at the initial stage of design, since pension systems are persistent. Yet, pension systems are not monolith, but living entities that change over time. Some of these modifications are produced by individuals’ reactions to incentives built in the system, and need to be foreseen during the initial planning. Other changes are induced by reform measures and constitute the policy responses to unpredicted exogenous shocks – such as population aging. Re-designing the pension system to cope with new demands, while being limited by existing constraints, is a difficult task. Recent reforms of the Italian pension system are discussed in detail to highlight the policy trade-offs and the economic motivations behind the decision of the reform policies.
{"title":"Designing a pension system","authors":"V. Galasso","doi":"10.4000/ESTETICA.5747","DOIUrl":"https://doi.org/10.4000/ESTETICA.5747","url":null,"abstract":"Designing a pension system is both a complex endeavor and a long lasting legacy. Complexity stems from the many trade-offs that conceiving a pension system entail and from how these initial decisions affect the social and economic behavioral responses of workers and retirees. Policy-makers planning a pension system have to evaluate its internal economic consistency, but also these feedbacks. Economic and demographic models that allow a quantitative evaluation of these costs and benefits are required. More than ever at the initial stage of design, since pension systems are persistent. Yet, pension systems are not monolith, but living entities that change over time. Some of these modifications are produced by individuals’ reactions to incentives built in the system, and need to be foreseen during the initial planning. Other changes are induced by reform measures and constitute the policy responses to unpredicted exogenous shocks – such as population aging. Re-designing the pension system to cope with new demands, while being limited by existing constraints, is a difficult task. Recent reforms of the Italian pension system are discussed in detail to highlight the policy trade-offs and the economic motivations behind the decision of the reform policies.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47525397","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}
I am interested in the epistemological status of «project(ion)», that is, the «act» or «strategy» of project(ion) in relation to various didactic protocols usually associated with an «author» and her intention or production. What is a plan, program, plot, platform, concept, conception, or even «meta-project»? Is a project or projection necessarily an «architectural matter»? Is it a prototypically Western or European procedure of specific use of time and space (literally, throwing forth into space/time)? I will attempt to explain some passages from Eisenman, Cacciari, as well as a theory recently put forth by Armando and Durbiano (Teoria del progetto architettonico).
我对“项目”的认识论地位感兴趣，也就是说，项目的“行为”或“策略”与通常与“作者”及其意图或生产相关的各种教学协议有关。什么是计划、程序、情节、平台、概念、构想，甚至是“元项目”?一个项目或投影一定是一个“建筑问题”吗?它是一种典型的西方或欧洲对时间和空间的特定使用程序(字面上，扔进空间/时间)吗?我将尝试解释艾森曼、卡西亚里的一些段落，以及阿曼多和德比亚诺最近提出的一个理论(Teoria del progetto architettonico)。
{"title":"The acts of project(ion) / project acts or projacts","authors":"P. Bojanić","doi":"10.4000/estetica.5521","DOIUrl":"https://doi.org/10.4000/estetica.5521","url":null,"abstract":"I am interested in the epistemological status of «project(ion)», that is, the «act» or «strategy» of project(ion) in relation to various didactic protocols usually associated with an «author» and her intention or production. What is a plan, program, plot, platform, concept, conception, or even «meta-project»? Is a project or projection necessarily an «architectural matter»? Is it a prototypically Western or European procedure of specific use of time and space (literally, throwing forth into space/time)? I will attempt to explain some passages from Eisenman, Cacciari, as well as a theory recently put forth by Armando and Durbiano (Teoria del progetto architettonico).","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48070068","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}
italianoIn questo articolo si delinea la costituzione di un campo disciplinare che prende il nome di ‘filosofia del progetto’. La radici di questo settore filosofico possono essere rintracciate in una delle prime considerazione teoriche intorno alle “scienze dell’artificiale” (Simon 1996 [1969]) – che in opposizione alle scienze della natura dovrebbero occuparsi delle entita non-naturali che popolano il nostro mondo, cioe gli artefatti. Tali considerazioni sono state poi ampliate e discusse a partire da un programma di ricerca indirizzato a un cambio di rotta all’interno della filosofia della tecnologia: la cosiddetta “svolta empirica in filosofia della tecnologia” (Kroes & Meijers 2000). A seguito di cio due questioni negli anni successivi sono state dibattute: la prima e legata alla definizione di ‘progetto’ e alle domande filosofiche che sorgono (come il problema del riferimento dei termini progettuali e il loro valore di verita); la seconda e un problema di demarcazione fra scienza e progetto (sono queste due attivita identiche o differenti?). Scopo dell’articolo e presentare una rassegna del dibattito mostrando alcuni possibili sviluppi futuri per la filosofia del progetto. EnglishThis article outlines the constitution of a disciplinary field called ‘philosophy of design’. The roots of this philosophical branch can be traced back to the one of the first theoretical consideration about the “sciences of the artificial” (Simon 1996 [1969]) – which in opposition to natural sciences should deal with non-natural entities which populates our world, namely artifacts. These considerations have been extended and discussed starting from a research program aimed at changing the route within philosophy of technology: the so called “empirical turn in philosophy of technology” (Kroes, Meijers 2000). Following this, two issues have been debated in the subsequent years: the first is related to the definition of ‘design’ and to the philosophical questions that arise (like the reference of design terms and their truth-value); the second is a problem of demarcation between science and design (are these two activities different?). The aim of the article is presenting an overview of the debate and showing some possible future developments for the philosophy of design.
{"title":"Filosofia e progetto. Breve storia di una vicenda attuale","authors":"Edoardo Fregonese","doi":"10.4000/estetica.5549","DOIUrl":"https://doi.org/10.4000/estetica.5549","url":null,"abstract":"italianoIn questo articolo si delinea la costituzione di un campo disciplinare che prende il nome di ‘filosofia del progetto’. La radici di questo settore filosofico possono essere rintracciate in una delle prime considerazione teoriche intorno alle “scienze dell’artificiale” (Simon 1996 [1969]) – che in opposizione alle scienze della natura dovrebbero occuparsi delle entita non-naturali che popolano il nostro mondo, cioe gli artefatti. Tali considerazioni sono state poi ampliate e discusse a partire da un programma di ricerca indirizzato a un cambio di rotta all’interno della filosofia della tecnologia: la cosiddetta “svolta empirica in filosofia della tecnologia” (Kroes & Meijers 2000). A seguito di cio due questioni negli anni successivi sono state dibattute: la prima e legata alla definizione di ‘progetto’ e alle domande filosofiche che sorgono (come il problema del riferimento dei termini progettuali e il loro valore di verita); la seconda e un problema di demarcazione fra scienza e progetto (sono queste due attivita identiche o differenti?). Scopo dell’articolo e presentare una rassegna del dibattito mostrando alcuni possibili sviluppi futuri per la filosofia del progetto. EnglishThis article outlines the constitution of a disciplinary field called ‘philosophy of design’. The roots of this philosophical branch can be traced back to the one of the first theoretical consideration about the “sciences of the artificial” (Simon 1996 [1969]) – which in opposition to natural sciences should deal with non-natural entities which populates our world, namely artifacts. These considerations have been extended and discussed starting from a research program aimed at changing the route within philosophy of technology: the so called “empirical turn in philosophy of technology” (Kroes, Meijers 2000). Following this, two issues have been debated in the subsequent years: the first is related to the definition of ‘design’ and to the philosophical questions that arise (like the reference of design terms and their truth-value); the second is a problem of demarcation between science and design (are these two activities different?). The aim of the article is presenting an overview of the debate and showing some possible future developments for the philosophy of design.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43242127","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 contemporary debate in the philosophy of literature is strongly shaped by the anti-cognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that fictions work like thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I will suggest that both sides in the debate focus too narrowly on semantic features of the works in question that are tied to what I will call the “referential picture” of language. A shift of perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find in works of literary fiction – and the interplay between them.
{"title":"Engaging with works of fiction","authors":"W. Huemer","doi":"10.4000/estetica.5170","DOIUrl":"https://doi.org/10.4000/estetica.5170","url":null,"abstract":"The contemporary debate in the philosophy of literature is strongly shaped by the anti-cognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that fictions work like thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I will suggest that both sides in the debate focus too narrowly on semantic features of the works in question that are tied to what I will call the “referential picture” of language. A shift of perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find in works of literary fiction – and the interplay between them.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42157657","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 exceptional nature of poetic language – testified by its patent untranslatability – represents a problem for philosophy, and particularly for analytic philosophy, which aims to provide an overarching explanation of ordinary language. It is difficult to explain the peculiar creativity of poetic language, starting from a finite basic vocabulary and a finite set of rules to be used by an interpreter who has finite powers. Poetry seems indeed not to respect the semantic innocence, spreading new meanings not only according to the context, but even to the graphic and phonological form of the words. Mechanisms, such as quotation and conversational implicatures, have been used to respect semantic innocence and to show at the same time that poetic language is not deviant from the ordinary use of language. This article suggests an alternative route, “imagistic”, to account for the specific creativity of poetic language, without violating the principle of semantic innocence and without hypothesizing a discontinuity with ordinary language. Particularly referring to metaphor, it aims to show that poetic language does not convey as much further meanings, implicit in the use of literal terms, but rather images, evoked by and dependent on these terms, which could explain both poetry emergent properties and untranslatability. “Imageability” is not a feature of the “poetic word”, but rather of any word and, particularly, of concrete words. The creativity of poetic language lies in deepening the multimodal nature of concrete language, which is different from the abstract and conceptual nature of philosophical language.
{"title":"Natura multimodale e creatività del linguaggio poetico","authors":"Francesca Ervas","doi":"10.4000/estetica.5125","DOIUrl":"https://doi.org/10.4000/estetica.5125","url":null,"abstract":"The exceptional nature of poetic language – testified by its patent untranslatability – represents a problem for philosophy, and particularly for analytic philosophy, which aims to provide an overarching explanation of ordinary language. It is difficult to explain the peculiar creativity of poetic language, starting from a finite basic vocabulary and a finite set of rules to be used by an interpreter who has finite powers. Poetry seems indeed not to respect the semantic innocence, spreading new meanings not only according to the context, but even to the graphic and phonological form of the words. Mechanisms, such as quotation and conversational implicatures, have been used to respect semantic innocence and to show at the same time that poetic language is not deviant from the ordinary use of language. This article suggests an alternative route, “imagistic”, to account for the specific creativity of poetic language, without violating the principle of semantic innocence and without hypothesizing a discontinuity with ordinary language. Particularly referring to metaphor, it aims to show that poetic language does not convey as much further meanings, implicit in the use of literal terms, but rather images, evoked by and dependent on these terms, which could explain both poetry emergent properties and untranslatability. “Imageability” is not a feature of the “poetic word”, but rather of any word and, particularly, of concrete words. The creativity of poetic language lies in deepening the multimodal nature of concrete language, which is different from the abstract and conceptual nature of philosophical language.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47318638","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 philosophy of irony has had, since its romantic origins, no good reputation because of its methodological and logical inconclusiveness and its contamination with literature. Whether we talk about Friedrich Schlegel or Paul de Man, about Soren Kierkegaard or Friedrich Nietzsche, Richard Rorty or Peter Sloterdijk, the “ironists” are hated because of their ability to say, even on the verge of death: “however”. The charge that philosophy makes against ironists is based on three “suspicions”: 1) that they are not philosophically consistent and, therefore, that they, ultimately, do not know how to ironize themselves; 2) that their irony is only a disguised “egology”, as Hegel would claim and assumes literary forms; 3) finally that they are vitiated by a sort of anthropological “lack of commitment”, or – as Rorty would say – a “lack of solidarity”, and, therefore, they are quite often ineffective and even harmful from a social and political point of view. In the following pages I will try to dissolve these “suspicions” through a close and “ironic” reading of two texts that belong to this tradition of cultural (not only literary) analysis, telling the story of an elective affinity between two emblematic thinkers: Friedrich Schlegel and Paul de Man.
{"title":"Incomprensibilità e ironia. Filosofia e letteratura in Friedrich Schlegel e Paul de Man","authors":"M. Cometa","doi":"10.4000/estetica.5045","DOIUrl":"https://doi.org/10.4000/estetica.5045","url":null,"abstract":"The philosophy of irony has had, since its romantic origins, no good reputation because of its methodological and logical inconclusiveness and its contamination with literature. Whether we talk about Friedrich Schlegel or Paul de Man, about Soren Kierkegaard or Friedrich Nietzsche, Richard Rorty or Peter Sloterdijk, the “ironists” are hated because of their ability to say, even on the verge of death: “however”. The charge that philosophy makes against ironists is based on three “suspicions”: 1) that they are not philosophically consistent and, therefore, that they, ultimately, do not know how to ironize themselves; 2) that their irony is only a disguised “egology”, as Hegel would claim and assumes literary forms; 3) finally that they are vitiated by a sort of anthropological “lack of commitment”, or – as Rorty would say – a “lack of solidarity”, and, therefore, they are quite often ineffective and even harmful from a social and political point of view. In the following pages I will try to dissolve these “suspicions” through a close and “ironic” reading of two texts that belong to this tradition of cultural (not only literary) analysis, telling the story of an elective affinity between two emblematic thinkers: Friedrich Schlegel and Paul de Man.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43025439","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}
Sebbene la ricchezza espressiva e la versatilita della scrittura di J.M. Coetzee si prestino ad una varieta di studi e considerazioni che riescono a coinvolgere molteplici discipline, solo i saggi che compongono il presente volume si impongono come un primo importante studio volto a comprendere, in maniera piu sistematica, l’ampia pluralita di voci che caratterizza la critica coetziana. Il volume, dunque, riesce a superare le analisi meramente settoriali e unilaterali perche, cogliendo le pro...
{"title":"Patrick Hayes and Jan Wilm, Beyond the Ancient Quarrel. Literature, Philosophy, and J.M. Coetzee","authors":"Viviana Vozzo","doi":"10.4000/estetica.5270","DOIUrl":"https://doi.org/10.4000/estetica.5270","url":null,"abstract":"Sebbene la ricchezza espressiva e la versatilita della scrittura di J.M. Coetzee si prestino ad una varieta di studi e considerazioni che riescono a coinvolgere molteplici discipline, solo i saggi che compongono il presente volume si impongono come un primo importante studio volto a comprendere, in maniera piu sistematica, l’ampia pluralita di voci che caratterizza la critica coetziana. Il volume, dunque, riesce a superare le analisi meramente settoriali e unilaterali perche, cogliendo le pro...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123703","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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