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  1. Maurizio Ferraris (2013). Opera d'aura. Rivista di Estetica 53 (52):97-115.
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  2. Maurizio Ferraris (2013). Pleurer et rire pour de vrai. Philosophiques 40 (1):23-44.
    Maurizio Ferraris | : L’une des réponses au paradoxe de la fiction consiste à dire que les émotions que nous éprouvons face aux oeuvres de fiction ne sont pas véritables. Mais qu’est-ce que pleurer ou rire pour de vrai ? En fait, presque toutes les formes de rire ou de larmes, et de réactions émotionnelles, sont compatibles avec la fiction, y compris celles qui sont des émotions vraies. Ce qui pose problème dans le paradoxe est la prémisse selon laquelle nos (...)
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  3. Maurizio Ferraris & Achille C. Varzi (2013). Hylas e Philonous dieci anni dopo. SpazioFilosofico 8 (2):219–227.
    This is a sequel to our dialogue "Che cosa c'è e che cos'è (2003), focusing on the interplay between what there is and what there could be—between actuality and possibility—from the perspective of Hylas (here: the realist philosopher) and from the perspective of Philonous (here: the conventionalist anti-realist).
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  4. Maurizio Ferraris (2012). Filosofia globalizzata. Iride 25 (2):403-412.
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  5. Maurizio Ferraris (2012). Globalized Philosophy. Iride 25 (2):403-412.
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  6. Maurizio Ferraris (2012). 3.1. Intenzionalitagrave; E Documentalita. Rivista di Estetica 52 (49):161-182.
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  7. Maurizio Ferraris (2012). Percezione. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 5.
    The essay concerns the notion of realism and its relationship with the notion of perception. The ontological meaning of aesthetics as aisthesis is in fact in the non-amendable nature of perception. From this non-amendability the essay outlines four traces through which aisthesis leads to realism: “nonconceptual content”, “object”, “naivety”, “ontology”.
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  8. Maurizio Ferraris (2012). Risposte ai miei critici. Rivista di Estetica 50 (1):391-409.
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  9. Maurizio Ferraris (2012). Responses to Quaestio. Quaestio 12:485-501.
    In this article I wish to illustrate realism’s position with regard to modern and contemporary philosophy and its transcendental turn. I will posit that new realism, while being very well aware of this turn , rejects it: in fact, from a realist perspective, the existence of ancestral beings, existing long before humans, proves that reality cannot be regarded as a correlate of human thought. I will therefore respectively refute the theories positing the dependency of reality on thought, arguing that the (...)
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  10. Maurizio Ferraris (2011). Indiana James. In Rosa M. Calcaterra (ed.), New Perspectives on Pragmatism and Analytic Philosophy. Editions Rodopi.
     
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  11. Maurizio Ferraris (2011). Nuovo Realismo. Rivista di Estetica 48 (1):69-93.
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  12. Maurizio Ferraris (2011). Nuovo Realismo FAQ: New Realism FAQ. Nóema 2:1-14.
    Il vero punto, nel confronto tra realisti e postmodernisti, non è ovviamente l’affermazione o negazione dell’esistenza del mondo esterno, ma il costruzionismo: quanto incidono gli schemi concettuali nella costruzione della realtà naturale e sociale? Infatti nessun realista negherebbe che l’IVA dipenda da schemi concettuali . Quello che il realista si chiede è, appunto, fin dove si spinge l’azione degli schemi concettuali, ed è qui che si manifesta il dissidio tra realisti e postmodernisti. Questi ultimi sono molto più generosi nella lista (...)
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  13. Adriana Cavarero & Maurizio Ferraris (2010). La bestia e il Sovrano di Jacques Derrida. Iride 23 (1):209-222.
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  14. Adriana Cavarero & Maurizio Ferraris (2010). On Jacques Derrida's The Beast and the Sovereign. Iris 2 (4):491-506.
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  15. Maurizio Ferraris (2010). Adieu, Adieu, Adieu. Remember Me. Rivista di Estetica 45 (1):135-137.
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  16. Maurizio Ferraris (2010). Ricostruire la Decostruzione: Cinque Saggi a Partire da Jacques Derrida. Bompiani.
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  17. Maurizio Ferraris (2010). Scrittura, archiscrittura, pensiero. Rivista di Estetica 50 (44):45-60.
    Traditionally, from Aristotle to Hegel, has been considered as valuable the following sequence: Thought → Word → Writing. In this essay I claim that the right order of the sequence is utterly the opposite: oral language does not come first, gesture does; writing is independent from language both because gesture comes first and because writing, differently from language, can record; finally the capacity of recording and of communicating is typical of the soul seen as a tabula.
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  18. Maurizio Ferraris (2010). The Philosopher-Son. The European Legacy 12 (4):409-418.
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  19. Maurizio Ferraris (2010). Writing, Archwriting, Thought. Rivista di Estetica 50 (2):45-60.
     
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  20. Maurizio Ferraris (2009). Documentalità e ontologia sociale. Quaestio 9 (1):389-406.
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  21. Maurizio Ferraris (2009). Documentality, or Europe. The Monist 92 (2):286-314.
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  22. Maurizio Ferraris (2009). Documentalità: Perché È Necessario Lasciar Tracce. Laterza.
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  23. Maurizio Ferraris (2009). Imitazione E convenzione. Rivista di Estetica 49 (41):125-139.
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  24. Maurizio Ferraris (2008). Idioms. Encyclopaideia 23:45-64.
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  25. Maurizio Ferraris (ed.) (2008). Storia Dell'ontologia. Bompiani.
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  26. Maurizio Ferraris (2008). Suchaniceman laudatio di Arthur Coleman Danto: Torino, 2 ottobre 2007. Rivista di Estetica 48 (38):21-23.
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  27. Maurizio Ferraris (2007). Badola e gavagai. Rivista di Estetica 47 (34):251-262.
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  28. Maurizio Ferraris (2007). Documentalità: Ontologia Del Mondo Sociale. Etica E Politica 9 (2):240-329.
    Objects come in three kinds: physical objects that exist in space and in time, and are independent from subjects knowing them, even though they may have built them, as for artifacts ; ideal objects that exist outside of space and time, and are independent from the subjects knowing them, but which, after having been discovered, can be socialized; social objects, that do not exist as such in space, since their physical presence is limited to the inscription, but last in time, (...)
     
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  29. Maurizio Ferraris (2007). Jacques Derrida's Writing and Difference. Topoi 26 (2):279-286.
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  30. Maurizio Ferraris (2007). Mondo dell'arte e mondo delle opere. Rivista di Estetica 47 (35):169-187.
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  31. Maurizio Ferraris (2006). Cocktail di Searle. Rivista di Estetica 46 (33):205-209.
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  32. Maurizio Ferraris (2006). Come guarire dal nichilismo con meno di 1 euro. Rivista di Estetica 46 (32):151-156.
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  33. Maurizio Ferraris (2006). Discorso per il conferimento del Premio Castiglioncello, 25 febbraio 2006. Rivista di Estetica 46 (31):215-220.
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  34. Maurizio Ferraris (2006). Jackie Derrida: Ritratto a Memoria. Bollati Boringhieri.
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  35. Maurizio Ferraris (2005). Nietzsche e bernazza. Rivista di Estetica 45 (28):25-32.
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  36. Maurizio Ferraris (2004). Goodbye, Kant!: Cosa Resta Oggi Della Critica Della Ragion Pura. Tascabili Bompiani.
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  37. Maurizio Ferraris (2004). L'opera d'Arte come fidanzata automatica. Rivista di Estetica 44 (26):153-170.
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  38. Maurizio Ferraris (2003). A Che punto è la notte. Dialogo sull'ontologia dell'arte. Rivista di Estetica 43 (23):48-54.
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  39. Maurizio Ferraris (2003). L'ontologia di Kant come naturalizzazione della fisica. Rivista di Estetica 43 (22):40-70.
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  40. Maurizio Ferraris (2003). La ontología de Kant como naturalización de la física. Laguna 13:9-39.
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  41. Maurizio Ferraris (2003). Processo per furto d'ombra. Rivista di Estetica 43 (24):68-73.
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  42. Maurizio Ferraris & Achille C. Varzi (2003). Che cosa c’è e che cos’è. Nous. Postille Su Pensieri 1:81–101.
    A philosophical exchange broadly inspired by the characters of Berkeley’s Three Dialogues. Hylas is the realist philosopher: the view he stands up for reflects a robust metaphysic that is reassuringly close to common sense, grounded on the twofold persuasion that the world comes structured into entities of various kinds and at various levels and that it is the task of philosophy, if not of science generally, to “bring to light” that structure. Philonous, by contrast, is the anti-realist philosopher (though not (...)
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  43. Maurizio Ferraris (2002). Inemendabilità, ontologia, realtà sociale. Rivista di Estetica 19 (1):160-199.
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  44. Jaques Derrida & Maurizio Ferraris (2001). A Taste for the Secret. Polity.
     
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  45. Maurizio Ferraris (2001). The Apoira of the Instant in Derrida's Reading of Husserl. In Heidrun Friese (ed.), The Moment: Time and Rupture in Modern Thought. Liverpool University Press. 33--51.
  46. Maurizio Ferraris (2000). Il problema non è l'ornitorinco. E Kant. Rivista di Estetica 40 (13):110-220.
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  47. Maurizio Ferraris (2000). Percezione diretta. Rivista di Estetica 40 (15):193-205.
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  48. Maurizio Ferraris (1999). “A Psychic Which is Not the One of Psychology” (Abstract). Chiasmi International 1:135-136.
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  49. Maurizio Ferraris (1999). “Uno psichico che non è quello della psicologia”. Chiasmi International 1:121-134.
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  50. Maurizio Ferraris (1999). “Un psychique qui n'est pas celui de la psychologie” (résumé). Chiasmi International 1:135-135.
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