1. Premesse Questo articolo richiede alcune premesse. Innanzitutto sono opportuni due chiarimenti, o precisazioni, che riguardano il titolo, Il nominalismo di Quine: un argomento circolare. Il primo chiarimento riguarda l’attribuzione a Willard Van Orman Quine di una posizione nominalistica, attribuzione contestabile sotto diversi rispetti. È vero che Quine è comunemente considerato uno dei maggiori esponenti del nominalismo contemporaneo. Tuttavia il termine “nominalismo” può essere inteso i...

Renaud Barbaras, La vie lacunaire [Thomas Vercruysse, p. 324] • Wolfram Hogrebe, Der implizite Mensch [Federica Ceranovi, p. 334] • Emmanuel Alloa, Das durchscheinende Bild [Maria Teresa Costa, p. 344] • Alexander R. Galloway, The Interface Effect [Angela Maiello, p. 346] • Francisco José Ramos, La significación del lenguaje poético [Michele Gardini, p. 348] • Alessandro Arbo, Entendre comme. Wittgenstein et l’esthétique musicale [Leonardo V. Distaso, p. 351.

Volumi e saggi Jay Schulkin, Reflections on the Musical Mind. An Evolutionary Perspective , [Michele Gardini, p. 202] • Hans Belting, Faces. Eine Geschichte des Gesichts [Pietro Conte, p. 205] • Aby Warburg, Il primo Rinascimento italiano. Sette conferenze inedite [Alice Barale, p. 207] • Laura Anna Macor , Reading Schiller: Ethics, Aesthetics and Religion [Lorenzo Leonardo Pizzichemi, p. 209] • Bernard Lafargue, Stéphanie Cardoso , Figures de l’art n° 25, Philosophie du design [Claire Azéma, Anne Beyaert Geslin, Stéphanie Cardoso, (...) Cécile Croce, p. 212] • Helmut Leder et al., What Makes an Art Expert? Emotion and Evaluation in Art Appreciation , “Cognition and Emotion”, 2013, 28, pp. 1-11; Enric Munar et al., Aesthetic Appreciation: Event-Related Field and Time-Frequency Analyses , “Frontiers in Human Neurosciences”, 2012, 5, pp. 1-11; Gerald C. Cupchik et al., Viewing Artworks: Contributions of Cognitive Control and Perceptual Facilitation to Aesthetic Experience , “Brain and Cognition”, 2009, 70, pp. 84-91 [Gianluca Consoli, p. 217]. (shrink)

Books Christy Mag Uidhir, Art andObjects [Elisa Caldarola, p. 182] • Julie Jaffee Nagel, Melodies of the Mind. Connections Between Psychoanalisis and Music [Michele Gardini, p. 185] • Dominic McIver Lopes, Beyond Art [Filippo Focosi, p. 187] • Annemarie Gethmann-Siefert, Herta Nagl-Docekal, Erzsébet Ròsza, Elisabeth Weisser-Lohmann, Hegels Ästhetik als Theorie der Moderne [Lorenzo Leonardo Pizzichemi, p. 190] Comments Toward an Integrated Science of Aesthetics. Getting Rid of the Main Misunderstandings in Evolutionary Aesthetics [Mariagrazia Portera, p. 194].

Esiste, oltre alle singole cose rosse, la proprietà universale "rosso"? O esistono invece solo le entità individuali e particolari? Come spiegare il fatto che più entità tra loro distinte possono essere tuttavia uguali per un determinato aspetto? E che cos'è che distingue due entità che condividano esattamente le stesse proprietà? Questi sono alcuni dei problemi che costituiscono la questione degli universali e dei particolari, che, a partire dai dialoghi platonici e dalla metafisica di Aristotele, ha sempre rappresentato uno dei nodi (...) centrali dell'ontologia. Di tale questione il libro ripercorre le tappe storiche principali, partendo dalla formulazione che ne fu proposta nell'antichità, esaminando gli importanti e variegati sviluppi medievali, individuandone la presenza talvolta nascosta nella filosofia moderna e ricostruendo i dibattiti della metafisica contemporanea, che ha visto una significativa rinascita di interesse per questi temi, soprattutto nell'ambito della filosofia analitica. -/- (English version) Does there exist, besides single red things, a universal red property? Or are there only individual, particular entities? How does one explain the fact that many distinct entities can be considered the same as regards a specific feature? And what is it exactly that distinguishes two things that share the exact same property? These are some of the questions that involve universals and particulars, a general issue that, ever since Plato's dialogues and Aristotle's Metaphysics, has played a crucial role in ontology. This book outlines the evolution of this issue through its main historical phases, from its initial conception in ancient times, through its medieval development, up to its sometimes hidden presence in modern philosophy. The text also addresses contemporary debates in metaphysics, in which there is a significant revival of interest for this topic, especially in analytical philosophy. (shrink)

Botticelli and Tizian depict the Annunciation in two very different ways. Botticelli portrays a kneeling angel in an act of guiding from below, while Tizian represents an angel imposing himself from above with an authoritarian forefinger. Botticelli's painting suggests an intention of orientation that is not authoritarian yet able to bring about a transformation (Umbildung). It also suggests that an individual's transformation cannot be achieved in a closed solipsistic dimension, but requires a disclosure from otherness. My theory is that at (...) the origin of ethics there is a non-authoritarian way of orientation that comes from otherness and arises from the emotional sphere thanks to a "care of desire". The expression cura sui has often been interpreted as a care confined to a private and solipsistic dimension with the aim of strengthening the self-referential subject. By "care of desire" I mean a care not turned upon itself but made possible by a disclosure coming from otherness and addressed to the transformation of the individual and of society. In the human existence, emotions reveal an extraordinary plasticity. They are not already regulated by instinct but develop and get to maturity even many years after biological birth. Moreover, this maturation process does not follow a universal process identical for everyone, being different for every individual. In fact it finds its realization in the unique order of feelings (ordo amoris) that characterizes every individual. Emotions guide actions and the way we interact with the others and with the world. In the human existence they become plastic and don't have only a homeostatic function of self-regulation. They give flexibility to our way of perceiving, of existing and of taking our position in the world. The care of desire is dedicated to the plasticity of emotions and makes ethics, i.e. a person's formation process (Bildung) and flourishing, possible. It also allows the transition from the “environmental closedness” (Umweltgeschlossenheit) to the world-openness (Weltoffenheit). To sum up, the care of desire implies the transition from a solipsistic self-care to a “care for world-openness”. From this point of view, emotion is no more the secondary result of a cognitive process, but at the origin of every formative, perceptive and cognitive process: In the beginning was the emotion. Yet in this process of creative transformation not every emotion has the same significance: at the core of emotions’ plasticity there are love and wonder (thaumàzein), whose peculiar feature is “lack of envy” (aphthonoi). (shrink)