One of the difficulties nurses experience in clinical practice in relation to ethical issues in connection with young oncology patients is moral distress. In this descriptive correlational study, the Moral Distress Scale-Paediatric Version (MDS-PV) was translated from the original language and tested on a conventional sample of nurses working in paediatric oncology and haematology wards, in six north paediatric hospitals of Italy. 13.7% of the total respondents claimed that they had changed unit or hospital due to moral distress. The items (...) with the highest mean intensity in the sample were almost all connected with medical and nursing competence and have considerably higher values than frequency. The instrument was found to be reliable. The results confirmed the validity of the MDS-PV (Cronbach’s alpha = 0.959). This study represents the first small-scale attempt to validate MDS-PV for use in paediatric oncology-ematology nurses in Italy. (shrink)

In this paper two new combinatorial principles in nonstandard analysis are isolated and applications are given. The second principle provides an equivalent formulation of Henson's isomorphism property.

We introduceself-divisibleultrafilters, which we prove to be precisely those$w$such that the weak congruence relation$\equiv _w$introduced by Šobot is an equivalence relation on$\beta {\mathbb Z}$. We provide several examples and additional characterisations; notably we show that$w$is self-divisible if and only if$\equiv _w$coincides with the strong congruence relation$\mathrel {\equiv ^{\mathrm {s}}_{w}}$, if and only if the quotient$(\beta {\mathbb Z},\oplus )/\mathord {\mathrel {\equiv ^{\mathrm {s}}_{w}}}$is a profinite group. We also construct an ultrafilter$w$such that$\equiv _w$fails to be symmetric, and describe the interaction between the (...) aforementioned quotient and the profinite completion$\hat {{\mathbb Z}}$of the integers. (shrink)

The naïve idea of “size” for collections seems to obey both Aristotle’s Principle: “the whole is greater than its parts” and Cantor’s Principle: “1-to-1 correspondences preserve size”. Notoriously, Aristotle’s and Cantor’s principles are incompatible for infinite collections. Cantor’s theory of cardinalities weakens the former principle to “the part is not greater than the whole”, but the outcoming cardinal arithmetic is very unusual. It does not allow for inverse operations, and so there is no direct way of introducing infinitesimal numbers. Here (...) we maintain Aristotle’s principle, instead halving Cantor’s principle to “equinumerous collections are in 1–1 correspondence”. In this way we obtain a very nice arithmetic: in fact, our “numerosities” may be taken to be nonstandard integers. These numerosities appear naturally suited to sets of ordinals, but they depend, for generic sets, on a “labelling” of the universe by ordinals. The problem of finding a canonical way of attaching numerosities to all sets seems to be worth further investigation. (shrink)

With his massive redeployment hypothesis (MRH), Anderson claims that novel cognitive functions are likely to rely on pre-existing circuits already possessing suitable resources. Here, we put forward recent findings from studies in numerical cognition in order to show that the role of sensorimotor experience in the ontogenetical development of a new function has been largely underestimated in Anderson's proposal.

L’intentto di questo articolo è dimostrare che il tema della pace oggi si avvicina molto al concetto biblico di shalom, poiché tocca ogni sfera della vita dell’uomo. La pace è la lotta continua contro la disumanizzazione. Quindi, vogliamo comprendere: a) il significato della beatitudine: "Beati gli operatori di pace" nel contesto delle beatitudini ; b) la comprensione della pace nell’Antico Testamento; c) la pace di Cristo e la missione dei discepoli di Gesù. E in conclusione, argomentare che la pace, da (...) parte dei cristiani, non si riduce a encomiabili sforzi umani per cercare di seguire le direttive del Maestro, ma si configura come accoglienza operosa dell’azione di Colui che è presente nella storia come il Vivente, il Risorto, l’Iniziatore escatologico del piano di salvezza di Dio. La pace è realizzazione graduale del progetto creazionale di Dio. La pace è appello alla disponibilità del singolo affinché si lasci coinvolgere nella comunità; è costruzione di un modo di vivere sociale che garantisca stimoli di autentica umanizzazione per ognuno. The aim of this essay is to demonstrate that the theme of peace nowadays is very close to the biblical concept of shalom, once it touches every sphere of human life. Peace is the continuous struggle against inhumanization. Therefore we aim to understand: a) the meaning of happiness: "Blessed are the peacemakers" in the context of happiness ; b) the comprehension of peace in the Old Testament; c) the peace of Christ and the mission of His disciples. Finally, we intend to argue that peace for Christians is not only praiseworthy human efforts to try to follow the directives of the Master, but it’s also a laborious welcome of the action of Jesus who is present in history as he Living, the Resuscitated, the eschatological Beginner of God’s plan of salvation. Peace is a gradual realization of God’s creational project. Peace is an appeal for the availability and commitment of the individual so that he/she can get involved in the community;it’s a construction of a social way of living that ensures stimuli of genuine humanization for all. (shrink)

Henri Lelevel’s La philosophie moderne par demandes et réponses is a very interesting as well as pretty neglected attempt to disseminate the new philosophy among a larger audience, including the non specialists. Either the style of presentation or the oversimplification of the topics discussed is clearly intended to reach people interested to a smattering of philosophy. More than the comparisons between the traditional and the new philosophy and the compendia, this work vouches for the great interest toward the new philosophy. (...) In this particular case the model is the philosophy of Malebranche, whose interpretation of Descartes thought is preferred by Lelevel, worried by the excessive twist given toward empiricism in P.-S. Régis rendering of Cartesian philosophical system. Lelevel’s logic is directed to eliminate the confusion between sense data and knowledge, echoing also Malebranche’s notion of éténdue idéale, one of the major contribution to the reconsideration of Descartes’ thought. This paper aims to sketch the mains topics discussed in the four sections of Lelevel’s work, with some cross-references to Malebranche’s writings. (shrink)

_Abstract_: In this article, I propose an original re-interpretation of the encounter between deconstruction and psychoanalysis as it is described by Jacques Derrida in his early essay “_Freud and the scene of writing_” (1966). My working hypothesis is that Derrida first reads psychoanalysis as a _partially_ _deconstructive_ human science. To test this hypothesis, I begin by demonstrating that Derrida’s reading draws on the description of deconstructive sciences offered since his early version of_ Grammatology _(1965-66). Second, I explain that it traces (...) across Freud’s work the increasing adequation of the psychoanalytic account of psychism to the model of a somehow spontaneous archiving machine. Finally, I show that, for Derrida, as a consequence of this adequation, psychism – understood as the origin of life, temporalization and the relation to the other – also marks the beginning of the history of technics. As my analyses develop, it should become increasingly evident that any critical assessments of Derrida’s encounter with psychoanalysis must reckon with the overall project of deconstruction in which this encounter is inscribed. _Keywords_: Deconstruction; Life; Psychoanalysis; Technics; World _L’essere-nel-mondo della psiche: le prime interpretazioni freudiane di Derrida_ _Riassunto_: In questo lavoro intendo proporre una re-interpretazione originale dell’incontro tra decostruzione e psicoanalisi come lo descrive Jacques Derrida nel suo saggio “_Freud e la scena della scrittura_” (1966). La mia ipotesi di lavoro è che Derrida abbia letto in prima istanza la psicoanalisi come una scienza umana _in parte_ _decostruttiva_. Per verificare questa ipotesi inizierò mostrando che la lettura di Derrida attinge alla descrizione delle scienze decostruttive offerta sin dalle prime versioni di _Della grammatologia _(1965-66). In secondo luogo proverò a illustrare come si ritrovi nell’opera di Freud un progressivo allinearsi della descrizione psicoanalitica dello psichismo al modello di un apparato di archiviazione più o meno spontaneo. Mostrerò infine che, per Derrida, come conseguenza di questo allineamento, lo psichismo – inteso come origine della vita, temporalizzazione e relazione all’altro – segna anche l’inizio della storia della tecnica. Con lo sviluppo delle mie analisi diverrà sempre più chiaro che una valutazione critica dell’incontro di Derrida con la psicoanalisi debba fare i conti con il progetto complessivo della decostruzione in cui questo stesso incontro si iscrive. _Parole chiave_: Decostruzione; Vita; Psicoanalisi; Tecnica; Mondo. (shrink)

In this essay I claim that thought experiments have invariably been very important to inquire into the foundations of natural science (in particolar physics). In particular, they have proved essential to test the stability of allegedly clear but ultimately contradictory concepts, that were nonetheless at the basis of widely shared scientific theories. By quickly reviewing some famous Gedankenexperimenten proposed by Einstein against the completeness of (Bohr’s interpretation of) quantum mechanics, I will try to ask how could they possibly have the (...) critical role that they always had. (shrink)

The essay proposes to read the political science of Thomas Hobbes in the light of his studies on optics, with particular reference to De homine. I intend to verify the relationship existing in Hobbes's thought between the development of the theory of political representation and the subjective optical science, with particular reference to the theory of fiction.

This article addresses the power of human technologies to wreak destruction on a planetary scale, such as genetic manipulation and weapons of mass destruction. It proposes the need for a new ethic that would be planetary in scale. Its central aim would be to include the great historical and contemporary diversity of human cognitive and epistemological experience. An "ethic of complexity" can weave together the threads of our common heritage. Although humanity's evolutionary past has been shown to be quite diverse, (...) recent genetic and anthropological research has shown it also to be surprisingly unified. New images and metaphors are providing humanity with a vision that transcends familiar ethnic hatreds and so-called clashes of civilizations. The new planetary culture can be a shining example of unity-in-diversity, or unitas multiplex. It will be robustly diverse, intermixed to the core, and filled with awe at the rich lineages of our common past. (shrink)

This article focuses on the constellation of texts in which Derrida engages with the autobiographical question raised by Heidegger in his lectures on Nietzsche. It argues that Derrida takes this question (“Who is Nietzsche?”) as the point of departure not only of two di-verging approaches to the problem of the signature of the philoso-pher, but also of the two texts that he devotes to the exploration of these approaches. In these texts, distancing himself from Heidegger, Derrida interprets Nietzsche’s treatment of (...) his proper name as a new logic of the living and a new thought of self-reference. (shrink)

The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...) philosophy, which Merleau-Ponty sees as a significant characteristic of his time. This is a convergence in which the nouvelle vague’s cinema will recognise itself and which Christian Metz will retrospectively confirm. Moreover, by developing both of these topics, the author finds a way to interpret Merleau-Ponty’s lecture as an undeclared polemical response to Henri Bergson’s famous negative judgement on cinema. The second section focuses on the question of movement in cinema, putting together further references to cinema made by Merleau-Ponty in posthumous or unpublished writings such as the notes for the 1952-53 course on “The Sensible World and the World of Expression.” The third section focuses on Merleau-Ponty’s later reflection about vision and images. This section shows how the peculiar noveltyof cinema is more and more understood by Merleau-Ponty not only as historically convergent with a new way of conceiving philosophy, but as a symptom of the new ontology he was trying to formulate philosophically.Il filosofo e il cineasta.Merleau-Ponty e il pensiero del cinemaCome sottolinea il suo sottotitolo, il presente articolo è dedicato alle relazioni fra la filosofi a di Maurice Merleau-Ponty e il pensiero del cinema. La prima sezione si concentra su due argomenti, ognuno ravvisabile nella conferenza sul cinema tenuta da Merleau-Ponty nel 1945. Da una parte, troviamo la riflessione sulle peculiarità dell’espressione filmica e dell’immagine cinematografica; dall’altra, la convergenza fra l’ispirazione del cinema e quella della filosofia, che Merleau-Ponty vede come una significativa caratteristica del proprio tempo: una convergenza in cui il cinema della nouvelle vague riconoscerà se stesso e che Christian Metz retrospettivamente confermerà. Inoltre, sviluppando entrambi gli argomenti, l’autore trova modo di interpretare la conferenza di Merleau-Ponty come una non dichiarata risposta polemica al celebre giudizio negativo sul cinema formulato da Henri Bergson. La seconda sezione si concentra sulla questione del movimento nel cinema, riunendo ulteriori riferimenti di Merleau-Ponty al cinema in scritti postumi o inediti, come le note per il corso del 1952-1953 su “Il mondo sensibile e il mondo dell’espressione”. La terza sezione si concentra sulla riflessione dell’ultimo Merleau-Ponty sulla visione e le immagini. Ciò mostra come la peculiare novità del cinema sia sempre più compresa da Merleau-Ponty non solo come storicamente convergente con un nuovo modo di concepire la filosofia, ma come un sintomo della nuova ontologia che egli stava cercando di formulare filosoficamente. (shrink)

In this paper, we present an intrinsic characterisation of projective special Kähler manifolds in terms of a symmetric tensor satisfying certain differential and algebraic conditions. We show that this tensor vanishes precisely when the structure is locally isomorphic to a standard projective special Kähler structure on \/\mathrm {S}\mathrm {U})\). We use this characterisation to classify 4-dimensional projective special Kähler Lie groups.

The year 2005 has been named the World Year of Physics in recognition of the 100th anniversary of Albert Einstein's "Miracle Year," in which he published four landmark papers which had deep and great influence on the last and the current century: quantum theory, general relativity, and statistical mechanics. Despite the enormous importance that Einstein’s discoveries played in these theories, most physicists adopt a version of quantum theory which is incompatible with the idea that motivated Einstein in the first place. (...) This seems to suggest that Einstein was fundamentally incapable of appreciating the `quantum revolution,’ and that his vision of physics as an attempt to reach a complete and comprehensive description of reality was ultimately impossible to obtain. Relativity theory has provided us with a picture of reality in which the world can be though as independent on who observes it, and the same can be said for statistical mechanics. Instead, quantum mechanics seems to suggest that physical objects do not exist `out there’ when someone is not observing them. In this framework, it is often suggested that any kind of causal explanation is impossible in the atomic and subatomic world, and therefore should be abandoned. This is why many think that it is in principle impossible for quantum theory to provide us with a coherent and comprehensive view of the world, in contrast with what happens with relativity and statistical mechanics. Is it really impossible to pursue Einstein’s ideal of physics also in the quantum framework? This book argues that this is not the case: the central idea is that Einstein’s vision of physics is still a live option, and indeed it is the one that best allows obtaining a unitary understanding of our physical theories. One can consider all the three theories mentioned above, suitably modified, as theories that are able to account and explain the world around us without too much departure from the classical framework. ---------------------------------------------------------------------------------------------------- -------------------------------------------------- -/- La teoria della relatività, la meccanica statistica e la meccanica quantistica hanno profondamente rivoluzionato il nostro modo di concepire spazio, tempo, materia, probabilità e causalità, nonché il rapporto tra universo fisico ed osservatore, nozioni che sono state al centro della discussione filosofica dal mondo greco fino ai nostri giorni. Questo volume, opera di Valia Allori, Mauro Dorato, Federico Laudisa e Nino Zanghì, non solo intende suggerire nuovi metodi di confronto tra fisica e filosofia, ma prova altresì a rendere espliciti i presupposti filosofici che sono presenti nell'interpretazione che i fisici stessi danno del formalismo matematico. (shrink)

The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...) philosophy, which Merleau-Ponty sees as a significant characteristic of his time. This is a convergence in which the nouvelle vague’s cinema will recognise itself and which Christian Metz will retrospectively confirm. Moreover, by developing both of these topics, the author finds a way to interpret Merleau-Ponty’s lecture as an undeclared polemical response to Henri Bergson’s famous negative judgement on cinema. The second section focuses on the question of movement in cinema, putting together further references to cinema made by Merleau-Ponty in posthumous or unpublished writings such as the notes for the 1952-53 course on “The Sensible World and the World of Expression.” The third section focuses on Merleau-Ponty’s later reflection about vision and images. This section shows how the peculiar noveltyof cinema is more and more understood by Merleau-Ponty not only as historically convergent with a new way of conceiving philosophy, but as a symptom of the new ontology he was trying to formulate philosophically.Il filosofo e il cineasta.Merleau-Ponty e il pensiero del cinemaCome sottolinea il suo sottotitolo, il presente articolo è dedicato alle relazioni fra la filosofi a di Maurice Merleau-Ponty e il pensiero del cinema. La prima sezione si concentra su due argomenti, ognuno ravvisabile nella conferenza sul cinema tenuta da Merleau-Ponty nel 1945. Da una parte, troviamo la riflessione sulle peculiarità dell’espressione filmica e dell’immagine cinematografica; dall’altra, la convergenza fra l’ispirazione del cinema e quella della filosofia, che Merleau-Ponty vede come una significativa caratteristica del proprio tempo: una convergenza in cui il cinema della nouvelle vague riconoscerà se stesso e che Christian Metz retrospettivamente confermerà. Inoltre, sviluppando entrambi gli argomenti, l’autore trova modo di interpretare la conferenza di Merleau-Ponty come una non dichiarata risposta polemica al celebre giudizio negativo sul cinema formulato da Henri Bergson. La seconda sezione si concentra sulla questione del movimento nel cinema, riunendo ulteriori riferimenti di Merleau-Ponty al cinema in scritti postumi o inediti, come le note per il corso del 1952-1953 su “Il mondo sensibile e il mondo dell’espressione”. La terza sezione si concentra sulla riflessione dell’ultimo Merleau-Ponty sulla visione e le immagini. Ciò mostra come la peculiare novità del cinema sia sempre più compresa da Merleau-Ponty non solo come storicamente convergente con un nuovo modo di concepire la filosofia, ma come un sintomo della nuova ontologia che egli stava cercando di formulare filosoficamente. (shrink)

The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...) philosophy, which Merleau-Ponty sees as a significant characteristic of his time. This is a convergence in which the nouvelle vague’s cinema will recognise itself and which Christian Metz will retrospectively confirm. Moreover, by developing both of these topics, the author finds a way to interpret Merleau-Ponty’s lecture as an undeclared polemical response to Henri Bergson’s famous negative judgement on cinema. The second section focuses on the question of movement in cinema, putting together further references to cinema made by Merleau-Ponty in posthumous or unpublished writings such as the notes for the 1952-53 course on “The Sensible World and the World of Expression.” The third section focuses on Merleau-Ponty’s later reflection about vision and images. This section shows how the peculiar noveltyof cinema is more and more understood by Merleau-Ponty not only as historically convergent with a new way of conceiving philosophy, but as a symptom of the new ontology he was trying to formulate philosophically.Il filosofo e il cineasta.Merleau-Ponty e il pensiero del cinemaCome sottolinea il suo sottotitolo, il presente articolo è dedicato alle relazioni fra la filosofi a di Maurice Merleau-Ponty e il pensiero del cinema. La prima sezione si concentra su due argomenti, ognuno ravvisabile nella conferenza sul cinema tenuta da Merleau-Ponty nel 1945. Da una parte, troviamo la riflessione sulle peculiarità dell’espressione filmica e dell’immagine cinematografica; dall’altra, la convergenza fra l’ispirazione del cinema e quella della filosofia, che Merleau-Ponty vede come una significativa caratteristica del proprio tempo: una convergenza in cui il cinema della nouvelle vague riconoscerà se stesso e che Christian Metz retrospettivamente confermerà. Inoltre, sviluppando entrambi gli argomenti, l’autore trova modo di interpretare la conferenza di Merleau-Ponty come una non dichiarata risposta polemica al celebre giudizio negativo sul cinema formulato da Henri Bergson. La seconda sezione si concentra sulla questione del movimento nel cinema, riunendo ulteriori riferimenti di Merleau-Ponty al cinema in scritti postumi o inediti, come le note per il corso del 1952-1953 su “Il mondo sensibile e il mondo dell’espressione”. La terza sezione si concentra sulla riflessione dell’ultimo Merleau-Ponty sulla visione e le immagini. Ciò mostra come la peculiare novità del cinema sia sempre più compresa da Merleau-Ponty non solo come storicamente convergente con un nuovo modo di concepire la filosofia, ma come un sintomo della nuova ontologia che egli stava cercando di formulare filosoficamente. (shrink)

Tout le trajet de la pensée de Merleau-Ponty est traversé – en certains cas de manière plus évidente que d’autres – par ce que je propose de définir comme une idée de la littérature et de la philosophie en tant que dispositifs de vision, pour utiliser une expression qui est née – et ce n’est pas un hasard – dans le domaine des études cinématographiques. Plus précisément, je voudrais montrer que Merleau-Ponty voit la littérature et la philosophie de son époque (...) opérer comme des dispositifs de vision convergents, vision qui est à considérer, à son tour, comme une pratique corporelle et pas seulement oculaire. Cela dit, il faut souligner que de tels dispositifs visuels convergents ont la particularité de fonctionner avec les mots, et que Merleau-Ponty met l’accent sur leur différente efficacité à exprimer son époque. De plus, je pense que l’idée implicite de la philosophie en tant que dispositif de vision opérant par des mots « comme toute la littérature » a une place importante, mais pour l’instant pas assez développée, dans la dernière période de la pensée de Merleau-Ponty. En outre, je voudrais souligner qu’une telle perspective est cruciale aussi pour notre époque, bien que je crois qu’elle soit différente de celle de Merleau-Ponty. En effet, je pense que notre époque et celle de Merleau-Ponty sont toutes deux caractérisées par une tension entre l’importance croissante des images et la centralité traditionnelle du concept dans notre culture.The whole path of Merleau-Ponty’s thought is crossed – some times more evidently than others – by what I propose to qualify as the idea of literature and philosophy as visual apparatuses, to use an expression that was born – and not by chance – in the field of Film Studies. More precisely, I aim at asserting that Merleau-Ponty sees literature and philosophy working in his epoch as convergent apparatuses of vision, in turn understood as a bodily and not merely ocular practice. Immediately after that, I should specify that such convergent visual apparatuses peculiarly function by words, and that Merleau-Ponty stresses their different efficiency in expressing his epoch.Moreover, I think that the implicit idea of philosophy as a visual apparatus working by words “like all literature” has a particularly relevant but so far not consequently developed place in in the last period of Merleau-Ponty’s thought. Also, I would like to stress that such a perspective is crucial in our own time too, even though I consider it to be different from Merleau-Ponty’s. Indeed, I think that both our time and Merleau-Ponty’s are characterized by a tension between the increasing importance of images and the traditional centrality of the concept in our culture.L’intero percorso del pensiero di Merleau-Ponty è attraversato, in certi casi in modo più evidente, da quella che propongo di definire come un’idea di letteratura e di filosofia come dispositivi di visione, per usare un’espressione nata, non a caso, nell’ambito dei Film Studies. Più precisamente, vorrei mostrare come Merleau-Ponty concepisca la letteratura e la filosofia della sua epoca come dispositivi di visione convergenti, intesi come una pratica corporea e non già meramente ottica. Specificherò, poi, che tali dispositivi di visione convergenti operano attraverso la parola e che Merleau-Ponty sottolinea la loro diversa efficacia nell’esprimere la sua epoca. Ritengo inoltre che l’idea implicita di filosofia come dispositivo di visione che agisce tramite la parola, “come tutta la letteratura”, occupi un posto particolarmente decisivo, anche se non del tutto esplicitato, nell’ultimo periodo del pensiero di Merleau-Ponty. Vorrei poi mostrare come tale prospettiva si riveli cruciale anche nel nostro tempo, per quanto diverso rispetto a quello di Merleau-Ponty. Infatti, penso che tanto la nostra epoca quanto quella di Merleau-Ponty siano caratterizzate da una tensione tra l’importanza sempre crescente delle immagini e la tradizionale centralità riservata al concetto nella nostra cultura. (shrink)

A partire dalla metà del Novecento, dopo una modernità dominata da prospettive di stampo deontologistico o utilitaristico, la filosofia pratica contemporanea ha visto il sorgere di una ripresa di interesse per un’etica “in prima persona”, in grado di offrire una prospettiva integrale sul soggetto e centrata sullo sviluppo del suo carattere e della sua personalità; in breve, si è assistito a un nuovo potente ingresso in scena dell’idea del bene, e, con essa, della virtù quale via maestra per conseguire il (...) fine adeguato della vita umana. Il volume si propone di rendere conto – anche in correlazione al ruolo delle emozioni, ma non solo – del percorso filosofico della virtù: dall’indagine delle sue fonti “classiche”, all’inizio del suo declino nella modernità, al risorgere della sua vitalità negli ultimi decenni nelle diverse aree linguistico-culturali, tenendo anche conto delle differenti discipline con cui si è interfacciata. Esso non pretende di esaurire i percorsi e le suggestioni che una tematica così vasta presenta, né di coprirne tutta la storia; piuttosto, vuole rappresentare uno stimolo alla ricerca, ponendo in connessione tagli disciplinari e metodologici differenti per offrire una riflessione a tutto campo, che metta in dialogo studiosi provenienti da ambiti diversi ed apra nuove prospettive.Saggi di: Francesco Camera, Angelo Campodonico, Elisabetta Cattanei, Michel Croce, Elisa Cuttini, Marco Damonte, Elisa Grimi, Simona Langella, Alberto Masala, Alma Massaro, Letterio Mauro, Giacomo Samek Lodovici, Maria Silvia Vaccarezza, Paolo Vignola, Lodovica Maria Zanet, Matteo Zoppi. (shrink)

Mauro Zonta's long awaited work Il Commento medio di Averroè alla Metafisica di Aristotele nella tradizione ebraica is really three books in one: a historical and philological account of the two medieval Hebrew translations of Averroes' Middle Commentary on Aristotle's Metaphysics and editions of both translations. The Arabic of Averroes' Middle Commentary on Aristotle's Metaphysics is not extant apart from a few fragments (see vol. 1, pp. 13-5). Nor is there a direct Latin translation of the Arabic—indeed, Zonta states (...) that there is no evidence of reliable citations of the work by any Latin authors (vol. 1, p. 18). Zonta's book, then, presents the only way of accessing Averroes' monumental work in its .. (shrink)

Mauro Carbone’s The Flesh of Imagesexplores the status of images as the precession of the invisible and the visible in Merleau-Ponty’s notion of “sensible ideas” ideas, but is at the same time a concise, original, and illuminating exploration of Merleau-Ponty’s sense of the flesh and his later philosophy, as well as speculating on an important historical shift in the sense of Being. Carbone articulates the flesh as the traversal, by Visibility, of the seer as Being, where the invisible is (...) shown forth indirectly by the visible and is ultimately the activity of visible Being that manifests a sort of desire to see itself through enveloping the visible beings that are seers. Carbone utilizes the notion of “voyance” as a seeing further into what had not been present before as the opening of a latency that is carried forth as the invisible’s pregnancy within the visible that ultimately brings into undecidability the primacy of perception and that of imagination,as well as being a retrograde movement within time that allows access to a mythical time and renders a differing, an immemorial time that has never been—the time in which Proust’s and Merleau-Ponty’s “sensible ideas” live. Carbone details Merleau-Ponty’s“ontological rehabilitation of the surface” in which the surface like the film screen is no longer a veil as constituting an obstacle, but rather is the surface of manifestation of Being, expressing the modern mutation in the relation to Being.Dans The Flesh of Images, Mauro Carbone explore le statut des images en tant que précession du visible et de l’invisible à partir de la notion d’« idées sensibles », mais il offre en même temps une étude à la fois synthétique, originale et éclairante du sens de la chair et de la pensée du dernier Merleau-Ponty, ainsi qu’une réflexion théorique sur un tournant historique fondamental dans le sens de l’Être. Carbone articule une pensée de la chair comme ce qui est transversal – par la Visibilité – au voyant en tant qu’Être, où l’invisible se donne à voir de manière indirecte à même le visible et est ultimement l’activité de l’Être visible qui vient manifester une sorte de désir de se voir par le fait même d’envelopper les êtres visibles qui sont voyants. Carbone se sert ainsi de la notion de « voyance » en tant que voir plus ou plus loin ce qui ne s’est pas encore présentifié comme l’ouverture d’une latence qui est portée en tant que prégnance invisible au sein du visible, ce qui fait que le primat entre perception et imaginaire devient indécidable, se construisant comme un mouvement temporel rétrograde, qui donne accès à un temps mythique et réalise un temps différé et immémorial qui n’a jamais été présent – le temps des idées sensibles de Proust et de Merleau-Ponty. Carbone expose la « réhabilitation ontologique de la surface » opérée par Merleau-Ponty en ce que la surface de l’écran cinématographique ne fonctionne plus comme un voile, c’est-à-dire ne constitue plus un obstacle, mais est plutôt la surface sur laquelle l’Être se manifeste, en exprimant la mutation contemporaine de notre relation à l’Être. The Flesh of Images di Mauro Carbone esplora lo statuto delle immagini come precessione di visibile e invisibile, secondo la nozione merleau-pontiana di “idee sensibili”, ma allo stesso tempo costituisce un’indagine concisa, originale e illuminante del concetto di carne e del pensiero dell’ultimo Merleau-Ponty. Il volume riflette inoltre su un importante slittamento storico nella concezione dell’Essere. Carbone articola il concetto di carne come ciò che è trasversale, attraverso la Visibilità, al vedente in quanto Essere, in cui l’invisibile appare indirettamente attraverso il visibile e in cui, in ultima analisi, è l’attività dell’Essere visibile che manifesta una sorta di desiderio di vedere se stesso rivestendo quegli esseri visibili che sono i vedenti. Carbone impiega la nozione di “voyance” per indicare un vedere oltre che coglie ciò che non si è ancora reso presente. Si tratta dell’apertura di una latenza che emerge come pregnanza dell’invisibile all’interno del visibile. Tale dinamica conduce a un’indecidibilità del primato della percezione e dell’immaginazione, costituendo al contempo un movimento temporale retrogrado che permette di accedere a un tempo mitico e che realizza un tempo differito e immemoriale che non è mai stato presente – il tempo delle “idee sensibili” di Proust e di Merleau-Ponty. Carbone espone la “riabilitazione ontologica della superficie” condotta da Merleau-Ponty, secondo cui la superficie dello schermo cinematografico non è più un velo che ostacola, ma piuttosto una superficie su cui l’Essere si manifesta, che esprime la trasformazione contemporanea della nostra relazione all’Essere. (shrink)

Heath and Tversky (1991, Journal of Risk and Uncertainty 4:5–28) posed that reaction to ambiguity is driven by perceived competence. Competence effects may be inconsistent with ambiguity aversion if betting on own judgement is preferred to betting on a chance event, because judgemental probabilities are more ambiguous than chance events. This laboratory experiment analyses whether ambiguity affects prices and volumes in a double auction market, and contrasts ambiguity aversion to competence effects. In order to test for the presence of competence (...) effects, in the experiment uncertainty is tied to the realisation of events about which the decision maker is more or less knowledgeable. Two experiments are presented: in the first, knowledge is exogenous, whereas in the second the knowledge judgement is endogenous. Market prices provide evidence in favour of the competence hypothesis only when competence is self-assessed. Comparable volumes are observed in both experiments. (shrink)

Histone octamers (hos) and DNA topoisomerase I contribute, along with other proteins, to the higher order structure of chromatin. Here we report on the similar topological requirements of these two protein model systems for their interaction with DNA. Both histone octamers and topoisomerase I positively and consistently respond to DNA supercoiling and curvature, and to the spatial accessibility of the preferential interaction sites. These findings (1) point to the relevance of the topology‐related DNA conformation in protein interactions and define the (...) particular role of the helically phased rotational information; and (2) help to solve the apparent paradoxical behaviour of ubiquitous and abundant proteins that interact with defined DNA sites in spite of the lack of clear sequence consensuses. Considering firstly, that the interactions with DNA of both DNA topoisomerase I and histone octamers are topology‐sensitive and that upon their interaction the DNA conformation is modified; and secondly, that similar behaviours have also been reported for DNA topoisomerase II and histone H1, a topology‐based functional correlation among all these determinants of the higher order structure of chromatin is here suggested. (shrink)

Background:Personal values influence nursing students’ development of professional values, which affect professional outcomes, and how nursing students react to different situations. Personal values can be shaped by different factors, including culture, gender, and age.Aims:To explore personal values held by nursing students, and to verify if and how gender and year of study affect nursing students’ personal values.Research design:A multicenter, cross-sectional study was used.Participants and research context:The whole population of nursing undergraduate students available at the time was recruited from eight centers (...) of two Universities, composing a sample of 947 students. Demographic data were collected and it was administered the Portrait Values Questionnaire.Ethical considerations:Ethical approval was obtained from the Institutional Review Boards of the University of the participating centers.Findings:The study sample was mainly composed of young (92.6%, n = 877), female (77.3%, n = 732), Italian (95.8%, n = 907), and unmarried (98.6%, n = 934) nursing students. The most important value for nursing students, consistently through the years of nursing school, was Self-transcendence, which has the motivational emphasis on helping others and selflessness. Then, we found that male students had higher levels of Power (p < 0.001) and Achievement (p = 0.031), while female students outscored male students in Benevolence (p = 0.005) and Security (p = 0.006). Year of study showed no statistically significant difference.Discussion:Nursing students express high levels in hetero-directed values. Male nursing students, although they choose a stereotypically feminine profession, outscored females in stereotypical masculine values such as dominance and success. This is the first study that describes the personal value profile of undergraduate nursing students, according to the Theory of Basic Human Values, and it is a starting point for future research.Conclusion:Nursing educators might want to consider the findings from this study while guiding students in developing awareness for their personal values. (shrink)

Il breve saggio si propone di esaminare la centralità della figura materna nell’opera di un ingegnoso costruttore di storie della letteratura italiana del Novecento: Alberto Moravia. La scelta dell’Autore nasce dalla rilevanza della tematica nella sua opera, in cui peraltro è quasi sempre assente il punto di vista femminile delle “voci” delle donne. Ciò sembra paradossale e questa circostanza è di grande interesse critico. In particolare, a dispetto delle interpretazioni più canoniche, secondo cui Moravia – negli scritti realizzati tra il (...) 1929 e il 1964 – ha inteso compiere una “distruzione” dell’immagine materna nel quadro di una visione pessimista della famiglia borghese, dovremo considerare un più complesso e articolato universo materno nello scrittore romano, in cui è possibile ricostruire cinque modelli – la “madre autoritaria”, la “madre-non madre”, la “madre padrona”, la “madre-angelo custode” e la “madre-seduttrice” –, ben esemplificati nei principali romanzi ma che si ritrovano nei racconti che Moravia scrive ininterrottamente dagli anni Trenta agli anni Sessanta, la cui mole ha determinato, ancor oggi, una mancanza di studi sistematici. In secondo luogo, la tematica della madre sarà esaminata nelle trasposizioni cinematografiche italiane delle opere letterarie di Moravia. Va ricordato che il rapporto dello scrittore con il cinema fu particolarmente intenso. Per un verso, la “settima arte” rivestì un ruolo non secondario nella formazione ed esperienza estetica dell’Autore romano, che al cinema si interessò anche professionalmente nelle vesti di critico cinematografico, a partire dal primo dopoguerra, dapprima, per La nuova Europa e Libera stampa, poi, per L’Europeo e L’Espresso, a cui dobbiamo aggiungere l’attività di saggista per numerose riviste specializzate. Per altro verso, il cinema italiano non solo ha attinto a “mani basse” dall’opera di Moravia per sceneggiature di pellicole, che furono pietre miliari della sua storia. L’elenco dei romanzi e racconti adattati al grande schermo rende conto della grande influenza nella cultura italiana degli anni Cinquanta e Sessanta: La provinciale (1953) di Mario Soldati, La romana (1954) di Luigi Zampa, Peccato che sia una canaglia (1954) di Alessandro Blasetti, Racconti romani (1955) di Gianni Franciolini, La ciociara (1960) di Vittorio de Sica, La giornata balorda (1960) di Mauro Bolognini, Risate di gioia (1960) di Mario Monicelli, Agostino (o la perdita dell’innocenza) (1962) di Mauro Bolognini, La noia (1963) di Damiano Damiani, Gli indifferenti (1964) di Francesco Maselli, Le ore nude (1964) di Marco Vicario, La donna invisibile (1969) di Paolo Spinola, Una ragazza piuttosto complicata (1969) di Damiano Damiani, L’amore coniugale (1970) di Dacia Maraini, Il conformista (1970) di Bernardo Bertolucci, e molti altri ancora. Come avremo modo soltanto di accennare, il successo della letteratura moraviana nel mondo del cinema italiano si deve a molteplici fattori, tra cui la raffigurazione dei personaggi e degli ambienti, la focalizzazione su certe tematiche e, non da ultimo, lo stile narrativo, particolarmente adatto alle trasposizioni cinematografiche. Come caso di studio, ci soffermeremo, infine, sulla figura materna della versione filmica de La noia di Damiani, con l’obiettivo di verificare se nel passaggio dal libro alla pellicola, quella particolare connotazione della madre autoritaria abbia subito delle alterazioni. L’ipotesi che muove l’analisi è che la stesura delle sceneggiature, la raffigurazione dei personaggi e la messa in scena delle sequenze filmiche facciano emergere un riadattamento adeguato al largo pubblico, con il sovvertimento dell’andamento cronologico, alcune “lacune” di ordine psicologico nella raffigurazione dei protagonisti e un certo cedimento moralistico alla cultura ancora dominante negli anni ’50 e ’60, in cui la figura materna, sia quando è incattivita dalla povertà che quando è inaridita dalla ricchezza, anela comunque agli affetti familiari, trovando in essi una qualche forma di redenzione. (shrink)

The paper discusses an ethical analysis of three common cases involving the most popular requests in rhinoplasty. As the nose plays a fundamental role in the aesthetics and physiognomy of the human face, the request for rhinoplasty may be an expression of both subjective discomfort and objective dysfunction. The paper aims, therefore, to fill the gap between qualitative-subjective impressions related to bodily self-perception and its quantitative-objective assessment. Ethical evaluation should start with consideration of the formal object and circumstances of the (...) act, by posing the following question: Is this a real clinical case? Only after an undoubtedly positive answer to this question, should we consider specific case-related aspects; i.e., the best scientific evidence, available nosography and informed consent, before conducting an ethical evaluation of the case. DOI: 10.5294/pebi.2016.20.1.8. (shrink)

In this book, Roberto Di Ceglie offers an historical, theological, and epistemological investigation exploring how commitments to God and/or the good generate the optimum condition to achieve knowledge. Di Ceglie criticizes the common belief that to attain knowledge, one must always be ready to replace one's convictions with beliefs that appear to be proven. He defends a more comprehensive view, historically exemplified by outstanding Christian thinkers, whereby believers are expected to commit themselves to God and to related beliefs no matter (...) how convincing the evidence contradicting such beliefs appear to be. He also argues that both believers and unbelievers can commit themselves to God and the good, respectively, thereby creating a spiritual turn in epistemology that enables them to generate the best possible condition for conducting rational enquiries and discussion. (shrink)

A definition of nonstandard universe which gets over the limitation to the finite levels of the cumulative hierarchy is proposed. Though necessarily nonwellfounded, nonstandard universes are arranged in strata in the likeness of superstructures and allow a rank function taking linearly ordered values. Nonstandard universes are also constructed which model the whole ZFC theory without regularity and satisfy the $\kappa$-saturation property.

A definition of nonstandard universe which gets over the limitation to the finite levels of the cumulative hierarchy is proposed. Though necessarily nonwellfounded, nonstandard universes are arranged in strata in the likeness of superstructures and allow a rank function taking linearly ordered values. Nonstandard universes are also constructed which model the whole ZFC theory without regularity and satisfy the κ-saturation property.

Assuming the existence of an inaccessible cardinal, transitive full models of the whole set theory, equipped with a linearly valued rank function, are constructed. Such models provide a global framework for nonstandard mathematics.

The temporality of intentions and actions in situations of social interaction can sometimes be paradoxical. I argue that in these situations it may sometimes be possible to conceive of individual acts that can, in a strong sense, be intended retroactively. This could happen when the relational patterns in social interaction literally alter the virtual structure of a participant's past corporeal intentions resulting in an odd experience of having intended something all along without knowing it. I propose that this possibility should (...) be interpreted as more than just a narrowly epistemic phenomenon. Examining this claim involves clarifying the enactive perspective on intentionality, which I do here. The enactive approach rejects the model of a causal relation between intention and action for one of an intrinsic qualitative relation between the two as facets of sense-making. I develop this idea and compare it with Merleau-Ponty's Fundierung model of the mutual relation between corporeal and reflexive intentionality to show that co-regulated moves/affections during social interaction may modulate both arcs of this relation, creating the possibility of a re-signification that alters not the actuality but the virtual tendencies that preceded the social act. (shrink)

Judith Jarvis Thomson has recently proposed a new argument for the thesis that killing the one in the Trolley Problem is not permissible. Her argument relies on the introduction of a new scenario, in which the bystander may also sacrifice herself to save the five. Thomson argues that those not willing to sacrifice themselves if they could may not kill the one to save the five. Bryce Huebner and Marc Hauser have recently put Thomson's argument to empirical test by asking (...) people what they should do in the new trilemma case, in which they may also sacrifice themselves. They found that the majority judge that they should either kill the one or sacrifice themselves; Huebner and Hauser argue that those numbers speak against Thomson's argument. But Thomson's argument was about the dialectical effect of the new trilemma on the traditional dilemma, rather than about the trilemma itself. Here I present the results of a study in which I asked subjects first what they should do in the trilemma and then what they should do in the traditional Trolley Problem. I found that, if asked first about the trilemma, subjects then have the intuition that killing the one in the traditional Bystander at the Switch is not permissible?exactly what Thomson's argument had predicted. (shrink)