BIBLIOGRAPHICAL NOTE The standard edition of Vico's works is by Fausto Nicolini (8 vols. in 11; Ban, 1911-41). For a bibliography, see Benedetto Croce, ...
Nota del Boletín Informativo del Institute for VicoStudies, fundado en 1974 por Giorgio Tagliacozzo en Nueva York, y editor de New VicoStudies, anuario comenzado a publicarse en 1983. La Nota ofrece información de actividades y publicaciones llevadas a cabo por el Instituto americano.A Note of the Informative Bulletin of the Institute for VicoStudies, founded in 1974 by Giorgio Tagliacozzo in New York, and publisher of New VicoStudies' yearbook . (...) The Note offers information of activities and publications carried out by the American Institute. (shrink)
Estudio bibliográfico crítico de: / A Bibliographical and Critical Study of: New VicoStudies, XII, 1994; G. Vico, The Art of Rhetoric, G.A. Pinton & A.W. Shippee trans. - eds., Rodopi, Amsterdam - Atlanta, 1996.
Estudio Bibliográfico de / A Bibliographical Study of: New VicoStudies , 19 , Special Issue on Vico and Roman Law. The Institute for VicoStudies, Atlanta, Donald Phillip Verene , pp. 199.
Preface Giambattista Vico (1668-1744) was throughout his mature years professor of Latin Eloquence at the University of Naples. His works, first written in ...
Work on the relation between figurative language and the law is a fairly recent trend, within legal discourse studies, linguistics, and semiotics. The work in conceptual metaphor theory, for example, is starting to unpack the underlying metaphorical and metonymic structure of legal language, producing some new and important insights into the nature of this language. Missing from this emerging line of inquiry are the views of the Neapolitan philosopher Giambattista Vico, who was the first to understand the power (...) of figurative language in the creation of symbolic systems, like language and the law. His tripartite evolutionary model of language shows that there is not one language of the law, but three “languages.” By integrating Vico’s model with the work in conceptual metaphor theory it will be possible to penetrate the underlying conceptual structure of legal discourse and thus lead to a more insightful science of this discourse. (shrink)
Pompa’s book is a welcome addition to the sparse English literature on Vico, and it will be of interest not only to philosophers but to historians, anthropologists, and other social scientists. Vico is written and developed as a guide to the final version of the New Science which is surely one of the most obscure books ever written. This is the first book in English which takes as its aim the exposition of the New Science. The other English (...) books, ranging from Flint’s Vico in 1891 to Tagliacozzo and White’s Giambattista Vico: An International Symposium contained either a general survey of ideas, as in Flint, or a wide collection of background materials and analytic, historical, or comparative studies, as in Tagliacozzo and White. A. R. Caponigri in Time and Idea expressed perhaps the historically and philosophically most controversial thesis: that Vico had attempted to temporalize and historicize the Platonic forms in his concept of the "ideal eternal history.". (shrink)
Vico’s De nostri temporis studiorum ratione (1709) draws a distinction between two types of pedagogy, based on the difference between ars topica and ars critica, which is crucial to our present-day conception of human education. Ars critica is the source of the contemporary understanding of education. When Descartes put aside rhetoric, poetic, and history as having nothing to do with the conduct of right reasoning in the sciences, he established criticism as the ideal of education. On the Cartesian view (...) no education is offered in the art of topics, which Vico understands as “the art of finding the middle term” that is necessary to the making of arguments.In Vico’s view, children are to be trained in memory, metaphor, and narration—or when they are adults they will be unable to find the starting points of thought. The Cartesian child will become a hollow-minded adult, expert in the use of methods, organizing materials, and calling up information but unable to make original judgments without ingenuity (ingenium)—the power to see the similar in dissimilars. On Vico’s view ars critica and all it implies is to be introduced only when the mind has been formed in its original powers of imagination. (shrink)
Vico’s De nostri temporis studiorum ratione draws a distinction between two types of pedagogy, based on the difference between ars topica and ars critica, which is crucial to our present-day conception of human education. Ars critica is the source of the contemporary understanding of education. When Descartes put aside rhetoric, poetic, and history as having nothing to do with the conduct of right reasoning in the sciences, he established criticism as the ideal of education. On the Cartesian view no (...) education is offered in the art of topics, which Vico understands as “the art of finding the middle term” that is necessary to the making of arguments.In Vico’s view, children are to be trained in memory, metaphor, and narration—or when they are adults they will be unable to find the starting points of thought. The Cartesian child will become a hollow-minded adult, expert in the use of methods, organizing materials, and calling up information but unable to make original judgments without ingenuity —the power to see the similar in dissimilars. On Vico’s view ars critica and all it implies is to be introduced only when the mind has been formed in its original powers of imagination. (shrink)
This article examines the question of allegory in Vico. While there have been some attempts to read the New Science as an allegory, little attention has been paid to what Vico himself meant by the term ‘allegory’. In fact, Vico complicates things by referring to two types of allegory: the philosophical allegory and the true poetic allegory. While the former term refers to the mode of signification of the age of man or the third age, the latter (...) term has to do with the poetic characters that Vico ascribes to the divine or first age. Vico further emphasizes the difference between the two types of allegory by calling (or translating) the true poetic allegory “diversiloquium.” Through a careful reading of this unusual translation of the term ‘allegory’, this inquiry suggests a surprising relation between the mode of signification of poetic characters (allegory) and Vico’s philosophy of history. (shrink)
