English version of: "Il personale e politico? Il confine fra pubblico e privato nella sfera della giustizia distributiva." --- Italian text published in Carter, Ian, Otsuka, Michael and Trincia, FrancescoSaverio Discussione su "If You're an Egalitarian, How Come You're So Rich?" di G.A. Cohen. Iride, XIV. pp. 609-634. ISSN 1122-7893.
On peut trouver dans l’œuvre de Lévy-Bruhl des traces de la présence de Spinoza, en particulier de sa conception de la connaissance du troisième genre, ou « science intuitive ». Il apparaît que Lévy-Bruhl a travaillé à une « new science of metaphysics », aussi bien dans ses œuvres d’histoire de la philosophie que dans ses ouvrages ethnologiques.One may find in Lévy-Bruhl’s works traces of Spinoza’s presence, in particular of his conception of « knowledge of the third kind », i.e. (...) « intuitive science ». It thus appears that Lévy-Bruhl worked on a « new science of metaphysics » both in his historical researches and in his ethnological works. (shrink)
Husserl develops his reflection on ethics mainly in his lecture courses. These lectures can be divided into two parts, according to a principle that is both chronological and pertaining to content, and following thus the respective editions in the Gesammelte Werke.1 The common aspect of the two different phases of Husserl’s research can be detected in the critical confrontation with Kant’s practical philosophy, starting with the question concerning the formality.
Discussion held in April at a Political Studies Association Roundtable in Manchester, England, on G. A. Cohen’s book If You’re an Egalitarian, How Come You’re So Rich?. --- Michael Otsuka's contribution sub-titled: "Il personale e politico? Il confine tra pubblico e private nella sfera della giustizia distributiva" = "Is the personal political? The boundary between the public and the private in the realm of distributive justice.".
Francesco Patrizi da Cherso's Discussiones peripateticae are one of the most comprehensive analyses of the whole of Aristotelian philosophy to be published before Werner Jaeger's Aristoteles. The main thrust of the argument in the Discussiones is that whatever Aristotle had said that was true was not new, and that whatever he had said that was new was not true. The article shows how Patrizi proves this with respect to the Organon, and deals with the implications for the history af (...) ancient philosophy in general implied by his stance. (shrink)
This paper examines the view held by Francesco Piccolomini (1523-1607) on the relation between prime matter and extension. In his discussion of prime matter in the Libri ad scientiam de natura attinentes Piccolomini develops a theory of prime matter that incorporates crucial elements of the viewpoint adhered to by the Neoplatonist Simplicius. The originality of Piccolomini’s undertaking is highlighted by contrasting it with the ideas found in Jacopo Zabarella’s De rebus naturalibus . The case of Piccolomini shows that, in (...) order to classify early modern metaphysical theories of prime matter, the category ‘prime matter as sheer dimensionality’ is indispensable. (shrink)
La traduction latine des Dialoghi della historia du philosophe néo-platonicien Francesco Patrizi da Cherso est publiée à Bâle en 1570. L’étude de la circulation de ce texte et des choix de traduction permet de mieux comprendre la réception des artes historicae italiennes dans le Nord de l’Europe et les fluctuations ou limites du latin face à la montée en puissance de l’italien vernaculaire comme langue philosophique.
Abstract The role of actual works of art with philosophical writing is often reduced to the status of example or illustration. As such the materiality of art work is rarely discussed let alone deployed as the basis of philosophical reflection. In this paper works by Francesco Mosca, and Bernini are used to question Heidegger's writings on sculpture. What such an approach opens up is the possibility that art may set the measure for philosophy.
Francesco Redi’s seventeenth-century experiments on insect generation are regarded as a key contribution to the downfall of belief in spontaneous generation. Scholars praise Redi for his experiments demonstrating that meat does not generate insects, but condemn him for his claim elsewhere that trees can generate wasps and gallflies. He has been charged with rejecting spontaneous generation only to change his mind and accept it, and in the process, with failing as a rigorous experimental philosopher. In this paper I defend (...) Redi from both of these charges. In doing so, I draw some broader lessons for our understanding of spontaneous generation. ‘Spontaneous generation’ does not refer to a single theory, but rather a landscape of possible views. I analyze Redi’s theoretical commitments and situate them within this landscape, and argue that his error in the case of insects from plants is not as problematic as previous commentators have said it is. In his research on gall insects Redi was addressing a different question from that of his experiments on insect generation—the question was not “Can insects come from nonliving matter?,” but rather, “Can insects come from living organisms which are not their parents?” In the latter case, he gave an answer which we now know to be false, but this was not due to any failure in his rigor as an experimental philosopher. (shrink)
It seems fairly straightforward to describe what should and should not count as a disability into two separate and opposing categories. In this paper we will challenge this assumption and critically reflect on the narrow relations between the concepts of 'talent' and 'disability'. We further relate such matters of terminology and classification to issues of justice in what is conceived of as disability sport. Do current systems of classification do justice to the performances of disabled athletes? Is the organisation of (...) a just and fair competition similar for abled as it is for disabled sport? Two cases (of Francesco Lentini and Oscar Pistorius) will be explored to further illustrate the complexities of these questions, in particular when related to notions of normality and extraordinary performances. (shrink)
This study considers the contribution of Francesco Patrizi da Cherso to the development of the concepts of void space and an infinite universe. Patrizi plays a greater role in the development of these concepts than any other single figure in the sixteenth century, and yet his work has been almost totally overlooked. I have outlined his views on space in terms of two major aspects of his philosophical attitude: on the one hand, he was a devoted Platonist and sought (...) always to establish Platonism, albeit his own version of it, as the only currect philosophy; and on the other hand, he was more determinedly anti-Aristotelian than any other philosopher at that time. Patrizi's concept of space has its beginnings in Platonic notions, but is extended and refined in the light of a vigorous critique of Aristotle's position. Finally, I consider the influence of Patrizi's ideas in the seventeenth century, when various thinkers are seeking to overthrow the Aristotelian concept of place and the equivalence of dimensionality with corporeality. Pierre Gassendi , for example, needed a coherent concept of void space in which his atoms could move, while Henry More sought to demonstrate the reality of incorporeal entities by reference to an incorporeal space. Both men could find the arguments they needed in Patrizi's comprehensive treatment of the subject. (shrink)
Francesco Patrizi da Cherso's Discussiones peripateticae (1581) are one of the most comprehensive analyses of the whole of Aristotelian philosophy to be published before Werner Jaeger's Aristoteles. The main thrust of the argument in the Discussiones is that whatever Aristotle had said that was true was not new, and that whatever he had said that was new was not true. The article shows how Patrizi proves this with respect to the Organon, and deals with the implications for the history (...) af ancient philosophy in general implied by his stance. (shrink)
L'esperienza cristiana di Francesco d'Assisi ha ispirato non solo la letteratura religiosa del suo tempo, ma ha costituito un punto di riferimento anche per l'elaborazione filosofica e teologica dei maestri francescani, come si evince dall'analisi di una questione quodlibetale di Pietro Tommaso relativa al fenomeno delle stimmate del Poverello. Il testo del maestro catalano, in confronto anche con testi simili precedenti o coevi, si presenta come un testimone interessante della temperie culturale dei primi decenni del Trecento, dal momento che (...) analizza la stimmatizzazione di Francesco non tanto per uno scopo apologetico, quanto piuttosto come come locus philosophicus grazie al quale elaborare alcune riflessioni sul rapporto tra natura e soprannatura e in merito alla potentia Dei absoluta. The Christian experience of Francis of Assisi not only inspired the religious literature of his time but also constituted a reference point for the philosophical and theological elaboration of the Franciscan masters, as it can be deduced from the analysis of a quodlibetal question of Petrus Thomae about the phenomenon of the Poverello's stigmata. The text of the Catalan master, in comparison also with similar previous or coeval texts, arises as an interesting witness of the cultural age of the fourteenth century early decades, since it analyzes the stigmatization of Francis not so much for an apologetic purpose, but rather as locus philosophicus thanks to which it is possible to elaborate some reflections on the relationship between nature and supernature and on the potentia Dei absoluta. (shrink)
In his Theoremata de lumine, et umbre , Francesco Maurolyco discussed, inter alia, the problem of the pinhole camera. Maurolyco outlined a framework based on Euclidean geometry in which he applied the rectilinear propagation of light to the casting of shadow on a screen behind a pinhole. We limit our discussion to the problem of how the image behind an aperture is formed, and follow the way Maurolyco combined theory with instrument to solve the problem of the projection of (...) light through small apertures. We show that Maurolyco not only reformed the classical sources which, he thought, were no longer the authoritative code of textual knowledge, but also established with the dioptra a novel linkage of method, theory, and instrument. He thereby demonstrated the importance of optics to the science of astronomy. (shrink)
Il saggio discute la lettura proposta da Francesco Novati della figura di san Francesco d’Assisi, a partire dalla interpretazione di quelle di Dante e Giotto. Alla luce dei rapporti con Gabriele d’Annunzio, la lettura novatiana di Francesco rivela una prospettiva che tende a offrire una visione estetizzante, dannunziana e decadente, immagine della modernità e non sempre aderente al messaggio originario. In questo modo Francesco diviene sostenitore di un progetto di riforma interno alla Chiesa che, con spirito (...) dannunziano, supera il dualismo tra materia e spirito per arrivare quasi a un elogio dell’immanenza. Attraverso una sorta di mitizzazione della figura di Francesco, Novati parla del proprio tempo più che di un personaggio vissuto nel passato. The essay discusses Francesco Novati’s reading of the figure of St. Francis of Assisi, starting from the interpretation of those of Dante and Giotto. In the light of the relationship with Gabriele d’Annunzio, the Novati’s reading of St. Francis reveals a perspective that tends to offer an aestheticising view, which is “dannuntian” and decadent, image of modernity that not always adheres to the original message. In this way, St. Francis purposes an inside reform project of the Church, which, with a “dannuntian” spirit, goes beyond the matter-spirit dualism in order to arrive almost to a praise of the immanence. Through such a mythologisation of the figure of St. Francis, Novati talks about his own time more than about a man who lived in the past. (shrink)
The article is the consequence of some critical notes to the contribution of Paolo Bellan, arising from reading of essays of Francesco Emmolo and Carlo Sini and the assumption of a purely phenomenological perspective in the interpretation of the processes of acquisition of scientific knowledge.
: In the context of nineteenth-century philosophical reflection, Francesco Bonatelli set himself the following goal: to defend the pillars of Spiritualism and ontology through an careful examination of psychic contents and consciousness, while closely contesting both the psychology and the psychophysiology of Positivism and Spiritualism itself, La coscienza e il meccanesimo interiore and Percezione e pensiero Bonatelli puts forward his “critical experience-grounded philosophy” and proposes an original solution to the problem of the nature of the subject, consciousness and its (...) unity, using an analysis of “sentiments” to reveal the inseparable tangle of the cognitive and ontological dimensions of the self. Keywords : Positivism; Consciousness; Self-consciousness; Actus essendi ; Substance; Gnoseology Francesco Bonatelli: un approccio critico alla coscienza e al soggetto umano tra spiritualismo e positivismo Riassunto : Nel contesto della riflessione filosofica dell’Ottocento, Francesco Bonatelli scelse come proprio ufficio la difesa dei capisaldi dello spiritualismo e dell’ontologia, mediante un attento esame dei contenuti psichici e della coscienza stessa, in un serrato confronto con la psicologia e psicofisiologia del positivismo e con lo spiritualismo stesso. In opere come Pensiero e conoscenza, La coscienza e il meccanesimo interiore e Percezione e pensiero, Bonatelli espose la propria “filosofia critica a base sperimentale” e propose una soluzione originale al problema della natura del soggetto, della coscienza e della sua unità, mostrando come nell’analisi dei sentimenti si riveli l’inscindibile intreccio delle due dimensioni, cognitiva e ontologica, dell’io. Parole chiave : Positivismo; Coscienza; Autocoscienza; Actus essendi ; Sostanza; Gnoseologia. (shrink)
Publiés pour la première fois en 1867 par Giuseppe Canestrini et aujourd’hui offerts en traduction au public français par Florence Courriol, les textes sont ceux de la Consolatoria, de l’Accusatoria et de la Defensoria, rédigés en 1527 par l’homme d’État et historiographe florentin Francesco Guicciardini, peu de temps après la terrible mise à sac de Rome par les lansquenets de l’armée impériale. Principal instigateur de la ligue conclue à Cognac en mai 1526 pour refréner la politique expansio...
continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in (...) the grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence. In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)
A word of warning I would offer to those approaching this excellent book by Francesco Ghedini is that it cannot be read alone. For it is the latest, and perhaps not the last, chapter of a long and continuous study of the figure of Plato in Nietzsche’s work that Ghedini began more than a decade ago. In it, Ghedini deals with Nietzsche’s mature works from 1881 to 1887, searching out the images of Plato to be found in them and (...) investigating their significance for Nietzsche’s philosophical trajectory. Ghedini begins, perhaps somewhat abruptly, with The Gay Science, proceeds to an exhaustive analysis of the period of Thus Spoke Zarathustra and Beyond Good and Evil, and ends with a brief consideration of Book V of The .. (shrink)