Video barbam et pallium, philosophum nondum videoAulo Gellio, Noctes Atticae, IX, 2, 4 1 Lo scenario Immaginiamo che il direttore di un grande museo venga a sapere che uno dei più grandi e riconosciuti maestri dell’arte contemporanea - anch’egli immaginario, chiamiamolo per comodità D’Auchan — ha lasciato in eredità a qualcuno, diciamo un oscuro collezionista, una grande quantità di opere del tutto inedite e completamente ignote anche alla critica, che il fortunato beneficiario ha deciso infi...

Die Sculpturen des Vaticanischen Museums, im Auftrage und unter Mitwirkung des kaiserlick deutschen archaeologischen Instituts beschrieben von Walter Amerlung. Berlin: In Kommission bei Georg Reimer. Vol. I., 1903; Vol. II., 1908. Text, 8vo, pp. x + 935, 768. Plates, 4to, 121 + 83. M. 50 per vol.Guida illustrata del Museo Nazionale di Napoli; approvata dal Ministero della Pubblica Istruzione. Compilata da D. Bassi, E. Gábrici, L. Mariani, O. Maruchhi, G. Patroni, G. de Petra, A. Sogliano; per cura di A. (...) Ruesch. Naples: Richter & Co.; Munich: Buchholz, 1908. 8vo. Pp. 500. 129 illustrations in the text. Lire 25. (shrink)

D. Compaeetti, Leggi antiche delta città di Gortyna, Firenze, 1885 F. Bücheler and E. Zitelmann, Rheinisches Museum N. F. Bd. 40 J. and T. Baunack, Die Inschrift von Gortyn, Stuttgart, 1886H. Lewy, Stadtrecht von Gortyn, Berlin, 1885Museo Italiano di Antickità classiche, edited by D. Comparetti, Florence, 1885 sqq. Vols. i, ii.

Attraverso lo studio di due singolari planimetrie inedite e non datate viene fatta luce su una pagina sconosciuta della museologia palermitana: la proposta, mai attuata, di Antonino Salinas, appoggiata anche da Giuseppe Fiorelli e da Paolo Boselli, di trasferire tra il 1887 ed il 1910 tutte le raccolte archeologiche, di arte medievale e moderna dai locali dell’ex convento dei padri Filippini all’Olivella nel complesso medievale di Palazzo Chiaramonte o Steri. L’infelice scelta post-unitaria di destinare l’ex convento a sede del (...) class='Hi'>Museo di Palermo, l’Esposizione Nazionale del 1891/1892 ed il “taglio” della via Roma, praticato nei primi anni del ‘900 per la realizzazione della nuova grande arteria cittadina, sono i moventi, che sollecitano gli attori della vicenda a sollevare la questione. La ricerca documentale, che descrive gli eventi sino al 1932, svela molte delle dinamiche e delle problematiche inerenti ai fatti come la possibile costituzione di un nuovo polo museale, una suggestiva area urbana riqualificata, che risulta quasi un intero quartiere dedicato ai musei. Il nuovo progetto espositivo del Salinas è in linea di continuità con la ben nota idea dell’archeologo palermitano di celebrare la “storia delle arti di tutta la Sicilia” ed allo stesso tempo anticipa alcune delle scelte espositive, che saranno adottate in seguito dal Marconi e dall’Accascina: un unicum tra i coevi musei nazionali della penisola. (shrink)

Primero de todo y antes de abordar el tema para someterlo a vuestra consideración tendría que pedir disculpas. Disculpas porque todo lo que voy a exponer no puede ser sino una aproximación de lo que pudo haber sucedido y lo es por varias razones. Primera, porque actualmente los médicos no nos atrevemos a dar ningún diagnóstico sin que exista el aval de una prueba radiológica o de laboratorio que, de manera concluyente, demuestre el origen del proceso patológico. Por ejemplo, en (...) el caso de una enfermedad infecciosa precisamos de un cultivo de un líquido orgánico que certifique el agente causal de la misma o cuando estamos delante de un tumor canceroso, de una biopsia de tejido que testifique su presencia (a .. (shrink)

An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

The initial conception this work, in fact a combination of a large repertory and image catalogue, an introduction into the iconographic depiction of the Observant friar Giovanni of Capestrano, and additional contributions on the life of Giovanni, the controversies surrounding him, and his hagiographic representation prior to his canonization in 1690, apparently lies with Luca Pezzuto's visit of the Museo Nazionale d'Abruzzo as a young graduate student. Impressed by the painting Beato Giovanni da Capestrano e quattro miracoli della sua (...) vita, he decided to write his doctoral thesis on this particular visual representation, and subsequently embarked on the ambitious project to gather and properly document all images... (shrink)

A Famous group of heraldic dedications, with inscriptions in the Oscan dialect, the iovilae-inscriptions as, in the uncertainty that prevails as to their real character, scholars have generally been content to call them , have long been a standing puzzle to students of the Italic dialects. A visit made in the spring of 1922 to the Museo Nazionale at Naples, where a number of the iovilae are now preserved, provided an opportunity of reconsidering, with the actual objects before me, (...) a new explanation of these most interesting dedications which I now venture to publish. (shrink)

We invoke the ideal of tolerance in response to conflict, but what does it mean to answer conflict with a call for tolerance? Is tolerance a way of resolving conflicts or a means of sustaining them? Does it transform conflicts into productive tensions, or does it perpetuate underlying power relations? To what extent does tolerance hide its involvement with power and act as a form of depoliticization? Wendy Brown and Rainer Forst debate the uses and misuses of tolerance, an exchange (...) that highlights the fundamental differences in their critical practice despite a number of political similarities. Both scholars address the normative premises, limits, and political implications of various conceptions of tolerance. Brown offers a genealogical critique of contemporary discourses on tolerance in Western liberal societies, focusing on their inherent ties to colonialism and imperialism, and Forst reconstructs an intellectual history of tolerance that attempts to redeem its political virtue in democratic societies. Brown and Forst work from different perspectives and traditions, yet they each remain wary of the subjection and abnegation embodied in toleration discourses, among other issues. The result is a dialogue rich in critical and conceptual reflections on power, justice, discourse, rationality, and identity. (shrink)

This paper approaches Husserl’s analysis of time-consciousness from a mereological perspective. Taking as inspiration Bergson’s idea that pure durée is a multiplicity of interpenetration, I will show, from within Husserlian phenomenology, that the absolute flow can indeed be described as a whole of interpenetrating parts. This mereological perspective will inform my re-consideration of the much-discussed issue of Husserl’s self-criticism concerning the schema of content and apprehension. It will also reveal a fundamental similarity between Husserl’s conception of the absolute flow and (...) Sartre’s conception of lived temporality. This paper consists of four sections. Section 2 presents the basic elements of Husserl’s mereology. Section 3 introduces the difficulty encountered by Husserl’s early account of time that makes use of the schema. I will examine Barry Dainton’s criticism of Husserl’s theory of time-consciousness against the background of the older debate between Meinong and Stern, a debate that has informed Husserl’s own account. Section 4 distinguishes two common criticisms of the schema from Husserl’s own self-criticism, which is in turn divided into two steps. It is shown how the second step of this self-criticism implies the interpenetration of the absolute flow and responds to Dainton’s criticism. Finally, Sect. 5 concludes with some comparative remarks. I will show how Husserl’s notion of absolute flow, as mereologically interpreted, anticipates Sartre’s conception of consciousness as self-transcendence, as well as how it accommodates the apparently conflicting mereological intuitions of Aristotle and Bergson. (shrink)

In this article, I analyze the evolution of Husserl's view on the normativity of logic and the corresponding changes in his phenomenological analysis of judgment. Initially, in the Prolegomena, Husserl claimed that the laws of pure logic are ideal and acquire normative status only as a result of application. Later, however, he revised this position and claimed that the same laws are at once ideal and normative. Sections 1 and 2 present textual evidence for attributing such a change of position (...) to Husserl, which is not generally acknowledged in the literature. Section 3 critically examines Husserl's early position, with specific attention to the model of instantiation. Sections 4–6 identify three key stages in the development of Husserl's theory of judgment that lead to the normative conception of pure logic: (1) the critique of the dissociation of ideal content and assertive force; (2) the rejection of the instantiation model of proposition and the development of a new account in terms of identification; (3) the genetic‐phenomenological interpretation of proposition and the elaboration of the three‐layer structure of pure logic. (shrink)