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  1.  2
    Note & Recensioni.Aavv Aavv - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):171-180.
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  2.  3
    Benedetto Croce e l’estetica.Alfred Baeumler - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):39-46.
    Written in 1922, the present essay by Baeumler on the aesthetics of Croce belongs to the period of the German philosopher’s thought culminating with Das Irrationalitätproblem in der Ästhetik und Logik des 18. Jahrhunderts bis zur Kritik der Urteilskraft, in which he works on a systematic project about a “logic of individuality”. This concept, which appears in the western world with the birth of modern aesthetics, when the notion of “judgment of taste” established itself in the third Critique by Kant, (...)
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  3.  13
    Baroque Sherlock: Benjamin’s Friendship Between «Criminal and Detective» in its Fore- and Afterlife.Alice Barale - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):163-169.
    The starting point of this paper is a statement that Benjamin makes in a group of notes he writes for his project of a detective novel. Benjamin writes here that «criminal and detective could be so friends [so befreundet sein] as Sherlock Holmes and Watson». We’ll try to understand the meaning of this statement through the investigation of the detective topic in two moments of its fore and afterlife: its fore life in Benjamin’s meditation on the baroque and its after (...)
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  4.  4
    Problems with Musical Signification: Following the Rules and Grasping Mental States.Marianela Calleja - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):151-162.
    The reflections on music are crucial in the philosophy of language and the mind of the second Wittgenstein. These reflections go around the comparisons Wittgenstein did between meaning and understanding language, and meaning and understanding music. Musical passages show a language as independent from reality, i.e. objects, events or mental states, centered instead in intonations, conclusions, parenthesis, confirmations, questions and answers, a phenomenon enough studied in musicology. Two interpretations on the signification of musical meaning are analyzed: Ahonen’s formalist view [2005], (...)
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  5.  4
    Logos estetico in Gentile.Roberto Diodato - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):65-71.
    Through an analysis of some crucial passages from Giovanni Gentile’s Sistema di logica come teoria del conoscere, Filosofia dell’arte, Introduzione alla filosofia and Genesi e struttura della società, the paper discusses the role and significance of the notion of “feeling” in Gentile’s philosophy and offers some insights into the idea of “aesthetic logos”, synthesis of logical immediacy and phenomenological immediacy, exhibition of a radical negativity beyond any conceptual understanding.
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  6.  5
    Foreword.Roberto Diodato & Andrea Mecacci - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):3-5.
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  7.  2
    Alfred Baeumler: per un’estetica dell’individualità.Giuseppe D’Acunto - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):31-37.
    This paper, accompanying Baeumler’s 1922 essay on Croce, illustrates the German philosopher’s thesis that modern thought on beauty does lead to aesthetics only when, with Kant, it acquires a notion of taste, understood as the sensible manifestation of the concrete individuality of man.
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  8.  10
    Giovanni Morelli e l’estetica positivistica.Paolo D’Angelo - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):7-17.
    Bernard Berenson used to refer to Giovanni Morelli as «the founder of the Method». With these words, he meant that Morelli was the scholar who, first, transformed connoisseurship in a science, giving to the discipline a stringent method. Does Morelli’s theory of painting really deserve this praise? To answer this question, this paper examines in the first part the philosophical and scientific background of Morelli’s doctrine, showing how its original debt payed to romantic philosophy went replaced by a neat positivist (...)
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  9.  5
    What Is the Aesthetics in China?Gu Feng & Dai Wenjing - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):125-134.
    It could be said that chinese aesthetics merges together three cornerstones of the western tradition. It might be intended as the study of beauty in the Platonic sense, because of the vaste debate on the topic rooted back in chinese’s ancient times; it could match the sense of aesthetics as intended by Baumgarten, because of the long tradition of chinese perceptual studies, and it may also be compared to the Hegelian philosophy of art, given the abundance of chinese artistic manufacts (...)
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  10.  7
    Fausto A. Torrefranca e l’estetica musicale italiana d’inizio Novecento.Giacomo Fronzi - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):99-111.
    At the beginning of the XX century music’s aesthetic is not an autonomous discipline with defined borders. Scholars dealing with it are neither philosophers in the strict sense nor merely historians or critics of music. In this paper, I wonder about the possibility of finding the traces of the first Italian aesthetics of music among the folds of a composite and ongoing reflection and through the study of some generally-considered musicological production also having some philosophical profile. Along this path, some (...)
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  11.  3
    Croce, Gemelli e l’estetica sperimentale.Luciano Mecacci - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):47-51.
    The experimental approach to aesthetics, proposed by Gustav Fechner, was discussed in Italy at the beginning of the Twentieth century from different point of views. Benedetto Croce severely criticized experimental aesthetics by considering it as reductionist and naturalist. In contrast, the psychologist Agostino Gemelli stated the experimental validity and the theoretical relevance of this research perspective in determining the laws of aesthetic preference and judgment.
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  12.  6
    Amara è la giustizia di Radamante. Carlo Michelstaedter e l’antica discordia tra poesia e filosofia.David Micheletti - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):85-98.
    What makes Carlo Michelstaedter’s life and work worthy of a reflection on Italian aesthetics is his erratic attitude when taking a stance in the ancient discord between Philosophy and Poetry. This, since Plato’s times, as an original item, expects and transcends each historical chapter of the literary critique and each kind of philosophy of history. Michelstaedter justapoxes names such as Parmenides, Sophocles, Socrates, Christ and the Ecclesiastes in an anti-genealogical manner, that is against fathers and masters as well as sons (...)
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  13.  3
    Logica dei sensi. Estetica e teoria della conoscenza in Benedetto Croce.Rosalia Peluso - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):53-63.
    This essay offers a general interpretation of Benedetto Croce’s aesthetics as a theory of knowledge. It takes its title from Croce’s famous work in the 1931, Le Due Scienze Mondane; l’Estetica e l’Economica, in which Croce describes the process of development of modern aesthetics as the affirmation of a logica dei sensi ; a definition developed from the “poetic logic” in Vico’s Scienza Nuova. The essay starts with a comparison with Gilles Deleuze’s logic of sense, or thought of the surface, (...)
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  14.  3
    Improvideo. Etica e estetica dell’improvvisazione coreutica.Davide Sparti - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):135-149.
    While all human agency unfolds with a certain degree of improvisation, there are specific cultural practices in which improvisation plays an even more relevant role. Argentine tango is one of them. If tango is the chosen field of reference, I do not attempt to sing the praises of the form, but rather to establish a set of categories which enable to analytically frame improvisation. My contribution, as Wittgentstein would say, has a “grammatical” design to it, proposing signposts and concepts to (...)
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  15.  3
    Sull’intelligibilità del sensibile. Nota al contributo di Adelchi Baratono nell’estetica italiana del primo Novecento.Domenico Spinosa - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):73-83.
    The contribution examines the notion of occasionalismo sensista, or also known by the expression of formalismo sensista, that the Italian philosopher Adelchi Baratono was proposing in the ’30s and ’40s of the twentieth century. Best known for his dense volume, Il mondo sensibile. Introduzione all’estetica, Baratono is among the first thinkers of his time in Italy to start a confrontation with Kantian criticism in aesthetic context, looking groundwork for an alternative route to the one proposed by the Italian Neo-idealism. In (...)
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  16.  3
    Teologia e kantismo nell’estetica di Mariano Campo.Maria Antonietta Spinosa - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):113-124.
    Through the analysis of Mariano Campo’s published works and thanks to further insights offered by some unpublished manuscripts, the profile of a philosopher is outlined, whose main interest, throughout his academic and research activity, has been aesthetics. More specifically, Campo has focused on the centrality of feelings to human aesthetic experience: it is through feeling that we experience a transfiguration of reality, which happens paradigmatically when, in front of an artwork, we appreciate it as an integral whole, a totality.
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  17.  3
    Il concetto corporale De Sanctis e la “concezione” dantesca.Francesco Valagussa - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):19-29.
    The present essay focuses on De Sanctis’ Lectures on Dante, held during his exile in Turin and Zürich, in order to show how aesthetics, politics and religion converge in his works. De Sanctis reads Dante’s journey throughout Hell, Purgatory and Paradise both as a diary and a drama, which reintroduces action, passions and a multitude of feelings in the peace and stillness that rule the kingdom of God after the final Judgment. De Sanctis tries to illustrate how Dante unifies body (...)
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  18.  11
    Two Forms of Gesture: Notes on Aby Warburg and Walter Benjamin.Benjamin Andrew - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):21-40.
    The paper both connects and disassociates the work of Walter Benjamin and Aby Warburg. There are two interrelated undertakings. The first involves the relationship between philosophy and art history and thus how art history figures within the philosophical. The second pertains to the status of the image. Part of the argument to be advanced is that an engagement with philosophical approach to art history yields a concern with the image in which it is the image's material presence that proves decisive. (...)
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  19.  6
    Human Mimicry and Imitation: The Case of Biomimetics.Andrea Borsari - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):51-61.
    Defining biomimetics as the imitation of models, systems and elements of nature for the purpose to solve human complex problems, the essay considers some examples of that activity, like display technologies, and nanoscientific innovations. According to the literature on the subject, the further section of the article examines the possibility of giving a conceptual framework for biomimetic processes, starting from the observation of its current insufficient development both on the logical level and on a wider philosophical one. The fourth section (...)
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  20.  7
    Seeing Through Plato’s Looking Glass. Mythos and Mimesis From Republic to Poetics.Andrea Capra - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):75-86.
    This paper revisits Plato’s and Aristotle’s views on mimesis with a special emphasis on mythos as an integral part of it. I argue that the Republic ’s notorious “mirror argument” is in fact ad hominem : first, Plato likely has in mind Agathon’s mirror in Aristophanes’ Thesmoforiazusae, where tragedy is construed as mimesis ; second, the tongue-in-cheek claim that mirrors can reproduce invisible Hades, when read in combination with the following eschatological myth, suggests that Plato was not committed to a (...)
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  21.  4
    To Imitate All That is Hidden. The Place of Mimesis in Adorno’s Theory of Musical Performance.Alessandro Cecchi - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):131-138.
    The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s theory of notation, that (...)
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  22.  2
    Foreword.Fabrizio Desideri & Carole Talon-Hugon - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):3-5.
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  23.  10
    Visions of the body. Embodied simulation and aesthetic experience.Vittorio Gallese - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):41-50.
    The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective that is complementary, and (...)
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  24.  8
    Sensible Schemes in Aesthetic Experience. Neuroaesthetics and Transcendental Philosophy Compared.Lidia Gasperoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):63-73.
    My paper sets out to compare neuroaesthetics and transcendental philosophy, concerning the perception of schemes of imitation in aesthetic experience. The argument is structured in four steps: first, I will introduce the function of schemes in mirror-neuron-based processes and in general in the embodiment theory of Mark Johnson and George Lakoff; second, I will consider some analogical relations between a transcendental approach and neuroaesthetics concerning semantics; third, starting with the statement that one open question in neuroaesthetics is how creativity emerges, (...)
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  25.  17
    Dramatic Mimesis and Civic Education in Aristotle, Cicero and Renaissance Humanism.Hörcher Ferenc - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):87-96.
    This paper wants to address the Aristotelian analysis of the concept of mimesis from a social and cultural angle. It is going to show that mimesis is crucial if we want to understand why the institution of the theatre played such a crucial role in the civic educational programme of classical Athens. The paper’s argument is that the magic spell of theatrical imitation, its aesthetic machinery was exploited by the city for civic educational function. Dramas, and in particular tragedies helped (...)
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  26.  5
    The Organization of Pessimism: Profane Illumination and Anthropological Materialism in Walter Benjamin.Ibarlucía Ricardo - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):139-160.
    This paper explores Walter Benjamin’s relationship with French Surrealism from sources rarely studied or practically unknown until now. First, I will set out the direct link between the theses on “profane illumination” and the “organization of pessimism” in Der Sürrealismus. Die letzte Momentaufnahme der europäischen Intelligenz, and various texts by Pierre Naville, one of the most active figures in the Surrealist movement between 1925 and 1929. Second, I will consider Benjamin’s commentaries in Pariser Passagen and convolute “S” of the Passagen-Werk (...)
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  27.  4
    Toys as Mimetic Objects. A Problem From Plato’s Laws.Stephen Kidd - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):97-105.
    What is a toy? As objects of play, toys seem to be inextricably bound up with mimesis: a child plays ‘make believe’, for example, with a doll or toy cart. But as I will show, Plato has a very different conception of toys from the modern one which tends to conceive of play as essentially mimetic. Toys do not derive their pleasure from being mimetic objects; rather, they are essentially pleasure objects and as such only incidentally mirror the objects of (...)
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  28.  4
    Ideality in Theatre. Or a Reverse Evolution of Mimesis From Plato to Diderot.María J. Ortega Máñez - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):107-116.
    This paper deals with a development of the ancient thought on mimesis in its modern reception as regards a certain idea of theatre. It defends the hypothesis that the figure of the character, as set up in Diderot’s Paradoxe sur le comédien, has its source in a curious reversal of the Platonic mimesis. After presenting the main tenets of Plato’s reflection on mimesis and of Diderot’s theory on character, showing their convergences and contrasts, it is analyzed how such a conceptual (...)
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  29.  10
    From Abbild to Bild? Depiction and Resemblance in Husserl’s Phenomenology.Claudio Rozzoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):117-130.
    In a well-known course he gave in 1904-1905, Edmund Husserl developed a ‘threefold’ notion of image revolving around the notion of depiction [Abbildung]. More specifically, the phenomenological description allows a seeing-in to emerge as an essential characteristic of the image consciousness, in which an image object assumes the role of a representant [Repräsentant] in order to allow us to see the image subject in the image itself. Nevertheless, our paper – focusing particularly on what might be called the depictive art (...)
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  30.  16
    Osservazioni sull’indipendenza dell’esperienza immediata: da Frege alla «fenomenologia sperimentale» di Paolo Bozzi.Taddio Luca - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):161-172.
    Paolo Bozzi developed his «experimental phenomenology» from the Gestalt psychology tradition, particularly from Gaetano Kanizsa’s method. The distinction between «phenomenal description» and «causal explanation» of the «perception» springs up from the analysis of Bozzi’s «S-D psychophysical scheme». What Frege, who was well-known by Bozzi, deals with in paragraph 71 of The Thought theoretically mirrors what is outlined in the Scheme and could also be intended as its source. The juxtaposition between a «science of observable things» or «experimental phenomenology» – conceived (...)
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  31.  3
    Production of Body Knowledge in Mimetic Processes.Christoph Wulf - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):7-20.
    To a great extent, cultural learning is mimetic learning, which is at the center of many processes of education, self-education, and human development. It is directed towards other people, social communities and cultural heritages and ensures that they are kept alive. Mimetic learning is a sensory, body-based form of learning in which images, schemas and movements needed to perform actions are learned. This embodiment is responsible for the lasting effects that play an important role in all social and cultural fields. (...)
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