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  1.  22
    Bilddenken und Morphologie: Interdisziplinäre Studien über Form und Bilder im philosophischen und wissenschaftlichen Denken.Laura Follesa & Federico Vercellone (eds.) - 2021 - Boston: De Gruyter.
    Welches Verhältnis besteht zwischen „Bild" und menschlichem Denken? Welche Rolle spielt das Konzept der „Form" im menschlichen Wissen? Forscher aus Philosophie, Kulturwissenschaften, Wissenschaftsgeschichte, Ästhetik, Literatur, Anthropologie, Mathematik und Biologie untersuchen aus historischer und theoretischer Perspektive den Zusammenhang zwischen der Aktivität des Denkens und den Konzepten von Bild und Form.
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  2.  18
    Introduction.Paolo Furia, Serena Massimo, Rita Messori & Federico Vercellone - unknown
    This issue of Itinera aims to address the connections between architecture and the performing arts in its various aspects and from multiple points of view. The growing emphasis on the performative character of artistic practices, namely, their ability to involve spectators directly and pervasively (Dixon 2007), imbues the relationship between architecture, the performing arts, and the spectator’s experience. The sharing of the scenic space by spectators and performers is essential for the co-production of a common energy which operates as a (...)
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  3.  10
    L'Occidente della verità: identità e destino della cultura europea.Claudio Ciancio & Federico Vercellone (eds.) - 1998 - Milano: Guerini e associati.
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  4.  5
    Cristalli di storicità: saggi in onore di Remo Bodei.Emilio Carlo Corriero, Federico Vercellone & Remo Bodei (eds.) - 2019 - Torino: Rosenberg & Sellier.
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  5.  45
    Hamletica di Massimo Cacciari.Massimo Donà, Claudio Ciancio, Vincenzo Vitiello & Federico Vercellone - 2010 - Iride: Filosofia e Discussione Pubblica 23 (2):425-442.
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  6. on Massimo Cacciari's Hamletica.Massimo Donà, Claudio Ciancio, Vincenzo Vitiello & Federico Vercellone - 2011 - Iris. European Journal of Philosophy and Public Debate 3 (5):183-204.
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  7.  17
    A Disenchanted Reenchantment.Federico Vercellone - 2014 - In Elena Ficara (ed.), Contradictions: Logic, History, Actuality. Boston: De Gruyter. pp. 181-192.
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  8.  10
    Bilddenken und Morphologie: Eine Einleitung.Laura Follesa & Federico Vercellone - 2021 - In Laura Follesa & Federico Vercellone (eds.), Bilddenken und Morphologie: Interdisziplinäre Studien über Form und Bilder im philosophischen und wissenschaftlichen Denken. Boston: De Gruyter. pp. 1-8.
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  9.  12
    Discussione su "Das Gedächtnis der Kulturwissenschaften" di Dietrich Harth.Gianluca Garelli, Sergio Givone, Klaus R. Scherpe & Federico Vercellone - 1999 - Iride: Filosofia e Discussione Pubblica 12 (2):427-444.
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  10.  11
    Morte dell'arte e rinascita dell'immagine: saggi in onore di Federico Vercellone.Gianluca Garelli, Federico Vercellone & Alessandro Bertinetto (eds.) - 2017 - Canterano (RM): Aracne editrice.
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  11.  11
    Il Pensiero ermeneutico.Tonino Griffero, Federico Vercellone, Maurizio Ferraris & Marco Ravera (eds.) - 1986 - Genova: Marietti.
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  12.  7
    Fine o nuovo inizio dell'arte: estetiche della crisi da Hegel al pictorial turn.Francesca Iannelli, Gianluca Garelli, Federico Vercellone & Klaus Vieweg (eds.) - 2016 - Pisa: Edizioni ETS.
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  13.  30
    Gianni Vattimo, La filosofia come ontologia dell'attualità. Intervista biografico-teorica.Luca Savarino & Federico Vercellone - 2006 - Iride: Filosofia e Discussione Pubblica 19 (3):467-498.
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  14.  7
    Archetipo cieco: variazioni sull'individuo moderno.Federico Vercellone - 2021 - [Turin]: Rosenberg & Sellier.
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  15.  11
    Beyond beauty.Federico Vercellone - 2008 - Albany: SUNY Press, State University of New York.
    Traces the decline of beauty as an ideal from early German romanticism to the twentieth century. The American abstract expressionist painter Barnett Newman famously declared in 1948 that the impulse of modern art is to destroy beauty. Not long after that, Andy Warhol was reconciling the world of art with the world of everyday life, painting soup cans and soda bottles. In this book, Federico Vercellone provides an account of the decline of beauty as a Platonic ideal from early German (...)
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  16. Das Ende der Kunst und die Geburt der Ästhetik.Federico Vercellone - 2015 - In Klaus Vieweg, Francesca Iannelli & Federico Vercellone (eds.), Das Ende der Kunst als Anfang freier Kunst. Paderborn: Wilhelm Fink.
     
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  17.  25
    Goethe, Schelling and the Melancholy of Nature.Federico Vercellone - 2020 - Rivista di Estetica 74:191-200.
    The relationship between nature and its symbolic and artistic expression is at the centre of Goethe’s reflections during and after his travels in Italy and of Schelling’s thoughts until the period of his philosophy of identity. Here, as is known, Schelling tries to accomplish the project of a new Renaissance, where we can witness an infinite system of correspondences between ideal and real. The symbolical continuity and integration between the two levels includes the presupposition that time and eternity are united. (...)
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  18.  3
    Introduzione a il nichilismo.Federico Vercellone - 1992 - Roma: Editori Laterza.
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  19.  7
    Il futuro dell'immagine.Federico Vercellone - 2017 - Bologna: Il mulino.
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  20.  3
    L'estetica dell'Ottocento.Federico Vercellone - 1999 - Bologna: Mulino.
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  21.  7
    L'età illegittima: estetica e politica.Federico Vercellone - 2022 - Milano: Raffaello Cortina editore.
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  22.  20
    Nota su Gadamer e la filosofia italiana.Federico Vercellone - 2000 - Iride: Filosofia e Discussione Pubblica 13 (2):281-294.
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  23.  11
    Das Ende der Kunst als Anfang freier Kunst.Klaus Vieweg, Francesca Iannelli & Federico Vercellone (eds.) - 2015 - Paderborn: Wilhelm Fink.
    Hegels These vom Ende der Kunst beinhaltet nicht die Todesanzeige für die Kunst. Im Gegenteil: Es handelt sich für Hegel um den Anfang der Entfaltung freier Kunst in der Moderne.0Hegels These vom Ende der Kunst hat zusammen mit dem Topos vom Ende der Geschichte grosse Entrüstung ausgelöst. In beiden Fällen führte die unzulässige Identifikation vom Ende mit Untergang und Tod zu einem massiven, bis heute wirksamen Missverständnis. Der Mythos von einem Untergang der Kunst in Hegels Ästhetik wird von manchen noch (...)
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