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Marco Parmeggiani
University of Málaga
  1.  8
    Música y dolor a través de Nietzsche y Adorno: Pautas para una semiótica filosófica de la música (Music and Pain through Nietzsche and Adorno: Guidelines for a Philosophical Semiotics of Music).Marco Parmeggiani - 2022 - Estudios Nietzsche 22:97-131.
    In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...)
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  2. Experimentalismo versus Hermenéutica: G. Deleuze.Marco Parmeggiani - 2003 - Episteme NS: Revista Del Instituto de Filosofía de la Universidad Central de Venezuela 23 (2):127-149.
    It is difficult to place Deleuze’s philosophy within the hermeneutic paradigm that characterizes the philosophy of the second half of the XXth century, since he contrasted always the experimentation principle to the concepts of understanding and interpretation. Deleuze intended to forge his philosophy as experimental thought, as an alternative to the intents to establish everywhere ‘interpretation machines’. This paper thus seeks to sketch, the singularities of Deleuze’s experimentalism, from his practice as a historian of phi- losophy, to his project of (...)
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  3. Deleuze: "Ultimos textos: El yo me acuerdo la Inmanencia: una vida..".Marco Parmeggiani - 2002 - Contrastes: Revista Internacional de Filosofía 7:219-237.
  4. Vivencias, instintos y emociones: Nietzsche y la génesis de la experiencia interior.Marco Parmeggiani - 2000 - Thémata: Revista de Filosofía 25:305-312.
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  5. Bibliografía cronológica de la obra de F. Nietzsche.Marco Parmeggiani - 2001 - Contrastes: Revista Internacional de Filosofía 6:275-291.
  6. Nietzsche y la disolución del concepto de yo, en la obra publicada y en los fragmentos póstumos de 1876 a 1882.Marco Parmeggiani - 1998 - Contrastes: Revista Internacional de Filosofía 3:185-210.
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  7. El "cogito" de Descartes en los fragmentos póstumos de Nietzsche.Marco Parmeggiani - 1996 - Contrastes: Revista Internacional de Filosofía 1:329-342.
  8. Interpretación y textualidad en la aproximación de Heidegger a Nietzsche.Marco Parmeggiani - 2007 - In S. Barbera – R. Müller-Buck (ed.), Nietzsche nach dem resten Weltkrieg. Pisa, Italia: Edizioni ETS. pp. 309-357.
  9.  60
    Sujeto, pensamiento y lenguaje en Nietzsche.Marco Parmeggiani - 2000 - Contrastes: Revista Internacional de Filosofía 5:263-283.
  10. Actualidad de la Escuela budista Madhyamaka.Marco Parmeggiani - 1997 - Contrastes: Revista Internacional de Filosofía 2:227-239.
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  11. El cogito de Descartes en los fragmentos póstumos de Nietsche.Marco Parmeggiani - 1996 - Contrastes: Revista Internacional de Filosofía 1.
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  12. Il problema della vaghezza in Nietzsche tra musica e linguaggio (The Problem of Vagueness in Nietzsche between Music and Language).Marco Parmeggiani - 2019 - Ermeneutica Letteraria. Rivista Internazionale 15 (XV):107-118.
    The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the rst section. (...)
     
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  13. La ambivalencia de sentido en el lenguaje y en el pensamiento de Nietzsche.Marco Parmeggiani - 2005 - In J. Quesada – J. E. Esteban Enguita (ed.), Nietzsche bifronte. Madrid, Spain: Biblioteca Nueva. pp. 193-222.
     
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  14. Música y dolor a través de Nietzsche y Adorno: Pautas para una semiótica filosófica de la música (Music and Pain through Nietzsche and Adorno: Guidelines for a Philosophical Semiotics of Music ).Marco Parmeggiani - 2022 - Estudios Nietzsche 22:97-131.
    In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...)
     
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  15. Nietzsche en España.Marco Parmeggiani & Fernando Fava - 2014 - In Guía de Nietzsche. Granada, Spain: Comares. pp. 285-312.
     
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  16. Nietzsche e la vita come divenire.Marco Parmeggiani - 2015 - In Paolo D'Iorio (ed.), Prospettive. Omaggio a Giuliano Campioni. Pisa, Italia: Edizioni ETS. pp. 279-284.
     
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  17. Nietzsche y el arte.Marco Parmeggiani - 2012 - Ateneo Del Nuevo Siglo 10 (15):54-59.
     
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  18.  1
    Perspectivismo y subjetividad en Nietzsche.Marco Parmeggiani - 2002 - Málaga, España: Analecta Malacitana.
  19. Schopenhauer contra Hegel. Una oposición esencial.Marco Parmeggiani - 2002 - Analogía Filosófica 16 (2):53-72.
     
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  20. Nietzsche: Crítica y Proyecto desde el nihilismo.Marco Parmeggiani - 2002 - Málaga, España: Editorial Ágora.
  21.  1
    Últimos textos: El "Yo me acuerdo" La Inmanencia: una vida..Marco Parmeggiani - 2016 - Contrastes: Revista Internacional de Filosofía 7.
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