Includes a translator’s preface, note on the text, and suggestions for further reading.

Dans les pages des Cahiers noirs, qui vont de 1942 à 1945 Heidegger vient à parler des Juifs dans trois passages contigus à sa réflexion sur la technique. Le second passage, central, contient l'interprétation onto-historique que Heidegger donne de la Shoah. Dans ce passage, le grand topos de la philosophie du XXe siècle, le silence de Heidegger sur Auschwitz, disparaît. Le nom de l'extermination est pour Heidegger Selbstvernichtung. Si la « question juive » est une question métaphysique, la résolution sera (...) elle aussi métaphysique. La Endlösung, la « solution finale », dès lors qu'elle est interprétée dans le cadre de l'histoire de l’être, se révèle comme « auto-anéantissement ». Heidegger interprète l'extermination comme un « auto-anéantissement », conformément à son antisémitisme métaphysique : ce sont les Juifs qui se sont auto-anéantis. Agents de la modernité, complices de la métaphysique, les Juifs suivent le destin de la technique, que résume le mot Verzehr : les usuriers sont soumis à l’usure, les consommateurs se consument, les destructeurs finissent par se détruire eux-mêmes. (shrink)

Nel Tesoro del Duomo di Monza si conservano tre celebri dittici eburnei relativi alla dotazione di suppellettili liturgiche di Berengario del Friuli (inizi X secolo): il dittico di Stilicone e quello del Poeta e della Musa, entrambi tardo antichi; il dittico di re Davide e san Gregorio Magno, di datazione e lettura più controverse (VI secolo ed età carolingia). Primo editore dei pezzi è Anton Francesco Gori nel secondo volume del Thesaurus veterum diptychorum consularium et ecclesiasticorum (1759), corredato di tre (...) tavole di Andrea Scacciati. Pur non avendo mai visionato i manufatti, l’erudito fiorentino dedica ad essi un’ampia disamina critica basandosi essenzialmente sugli acquerelli del pittore Girolamo Ferroni, reclutato dal marchese milanese e prezioso intermediario Alessandro Teodoro Trivulzio. Nel 1794 il padre della storiografia monzese, il canonico Anton Francesco Frisi, risolve di rieditare i dittici in apertura del terzo tomo delle sue Memorie storiche di Monza e sua corte. Consigliato da quel don Carlo Trivulzio erudito e proprietario di un ricco nucleo di avori antichi, supportato dalle modeste incisioni di Giulio Cesare Bianchi, offre una rilettura che puntualizza ed emenda in parte quanto scritto dal Gori, condita da una vena polemica contro «chi non ha esaminati personalmente i Monumenti, sui quali ragiona». Sullo sfondo del contesto culturale dell’epoca e delle personalità che vi presero parte, con l’ausilio della documentazione divisa tra la Veneranda Biblioteca Ambrosiana di Milano, l’Archivio della Fondazione Trivulzio e la Biblioteca Marucelliana di Firenze, il contributo intende proporre una ricostruzione degli avvenimenti con attenzione al rapporto tra originale (i dittici monzesi) e copia (disegni e incisioni che ne scaturirono). (shrink)

Highlights the central place of Greek philosophy, particularly Plato, in "Truth and Method" philosopher Hans-Georg Gadamer's work, brings out differences between his thought and that of Heidegger and connects him with discussions and ...

Philosophers have long struggled to reconcile Martin Heidegger's involvement in Nazism with his status as one of the greatest thinkers of the twentieth century. The recent publication of his Black Notebooks has reignited fierce debate on the subject. These thousand-odd pages of jotted observations profoundly challenge our image of the quiet philosopher's exile in the Black Forest, revealing the shocking extent of his anti-Semitism for the first time. For much of the philosophical community, the Black Notebooks have been either used (...) to discredit Heidegger or seen as a bibliographical detail irrelevant to his thought. Yet, in this new book, renowned philosopher Donatella Di Cesare argues that Heidegger's "metaphysical anti-Semitism" was a central part of his philosophical project. Within the context of the Nuremberg race laws, Heidegger felt compelled to define Jewishness and its relationship to his concept of Being. Di Cesare shows that Heidegger saw the Jews as the agents of a modernity that had disfigured the spirit of the West. In a deeply disturbing extrapolation, he presented the Holocaust as both a means for the purification of Being and the Jews' own "self-destruction": a process of death on an industrialized scale that was the logical conclusion of the acceleration in technology they themselves had brought about. Situating Heidegger's anti-Semitism firmly within the context of his thought, this groundbreaking work will be essential reading for students and scholars of philosophy and history as well as the many readers interested in Heidegger's life, work, and legacy. (shrink)

Questo articolo si inserisce nell’ambito dei più recenti studi baconiani che hanno determinato una revisione critica della fortuna di Francis Bacon , la pubblicazione di nuove opere o parti di opere inedite e uno studio attento del lessico e del vocabolario baconiano. Per quanto riguarda la seconda metà del ‘700 e l’‘800, la fortuna e l’incidenza del pensiero baconiano è quasi tutta da studiare, schiacciata com’è dal giudizio moralistico sulla sua ‘caduta’ . In merito alla fortuna di Francis Bacon in (...) Italia nel XVIII e XIX secolo ho analizzato due dei possibili autori che alle opere del filosofo inglese diedero attenzione: Cesare Beccaria e Vincenzo Gioberti. (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the (...) stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

The concept of understanding appears initially at the point of intersection between the philological, hermeneutical and the theological‐philosophical traditions. The concept of understanding already appears as a philosophical term in the language of the mystics, starting from Augustine, for whom it had a broader significance than merely seeing. The Kantian concept of understanding is subsequently re‐appropriated quite originally by Hamann who, by stressing the limits of the human understanding of the book of nature, develops the idea of historical understanding, grasped (...) as a situating oneself in the past that presupposes an understanding of the present and a foreseeing of the future. One of the most relevant philosophical problems that remains after Wittgenstein and Gadamer is that of the relation between understanding and interpretation. Not all understanding is interpreting, and where there is understanding, there is not interpreting and translating, but simply “speech”. (shrink)

The question concerning the difference between Gadamer's hermeneutics and Derrida's deconstruction, is a legitimate question since they are philosophies that have grown from common soil. Both philosophers, albeit via different paths, go back to Greek philosophy and continually compare themselves with it. Philosophical hermeneutics has often been misunderstood in its attempt to raise the question of understanding within philosophy. According to hermeneutics, understanding would be an appropriation of the other. Animated by a “fury of understanding”, hermeneutics seems to claim that (...) it could and should understand all in a complete and perfect way. The distance between hermeneutics and deconstruction does not lie in the goodwill to understand, but in understanding itself, in the way in which understanding follows from either the unity of the uninterrupted dialogue or from the difference of the interruption. Unity and difference, difference and unity, reassert the secret of their bond, of their elusive cross‐reference. (shrink)

What is the difference between hermeneutics and deconstruction? This essay provides an answer by following the guiding thread of understanding that was already brought to the fore in Paris during the "improbable debate" between Gadamer and Derrida. Maybe there was and still is a "dialogue" between the two most important currents of continental philosophy, as Derrida suggests in his talk commemorating Gadamer at Heidelberg in 2002. It is a dialogue that passes through poetry, and above all the poems of Celan. (...) In this way, the distance or the proximity between hermeneutics and deconstruction rests in the meaning of understanding: the one beginning from the uninterrupted dialogue, the other from the difference of interruption. Through a phenomenology of saying and of understanding, this essay asks at the same time how the differences of deconstruction are the stars necessary for the constellation of hermeneutics, and how the constellation is nevertheless necessary for every new star. It is perhaps the Schibboleth of Celan that indicates the point of orientation. (shrink)

In questo saggio viene esaminato il pensiero politico di Humboldt, di solito preso erroneamente per un liberalismo. Il suo congedo dallo Stato segna una riflessione critica che si interroga non sull'origine, bensě sul fine dello Stato, e ha una dimensione manifestamente an-archica. Privo di fondamento, lo Stato č solo un male temporaneo che puň essere tollerato se si costruisce la «comunitÀ» che Humboldt delinea sul modello della lingua. Perché č nella reciprocitÀ dei parlanti, delineata soprattutto nello studio Sul duale, che (...) si puň trovare una via d'uscita alla opposizione tra universale e individuale. Mentre dischiude lo spazio del dialogo, la lingua indica una comunitÀ che č non meccanica, bensě organica. (shrink)

This book seeks to redefine the purpose of philosophy for our times. Faced with the saturated immanence of the world, philosophy is summoned to return to its original vocation and, after a long absence in which it lost its voice, it is called on to reawaken the community and protect the life we share in common.