The cinema of Martin Scorsese has been analysed in connection with a wide range of themes and issues. In this paper, through a film-philosophical analysis, we aim to demonstrate how his filmography produces storyworlds pervaded by a tension similar to the one Søren Kierkegaard expressed in his existentialist writings. Indeed, one of the tenets of film-philosophy is that audio-visual media generate, in an affective and experiential manner, complex moral and ethical systems and existential viewpoints with which viewers interact in a (...) direct and creative way. Empathising with the self-sacrifice of the unlikely martyr played by Jake LaMotta or feeling the collapsing certainties of a missionary in seventeenth-century Japan are thus occasions to encounter particular conceptual personae. These characters embody specific iterations of Kierkegaardian knights of faith: existentialist figures whose doom takes in ambiguous film ecologies where the desire for wholesomeness constantly clashes with mortality and finitude. (shrink)

Engages Levinas and Heidegger on the provocative issue of an ethics of things.

A Steiner triple system (STS) is a set S together with a collection B of subsets of S of size 3 such that any two elements of S belong to exactly one element of B. It is well known that the class of finite STS has a Fraïssé limit M_F. Here, we show that the theory T of M_F is the model completion of the theory of STSs. We also prove that T is not small and it has quantifier elimination, (...) TP2, NSOP1, elimination of hyperimaginaries and weak elimination of imaginaries. (shrink)

Free will is usually defined by three conditions: the ability to do otherwise; control of one’s own choices; responsiveness to reasons. The compatibility of free will with determinism lies at the heart of the philosophical debate at the metaphysical level. This debate, while being increasingly refined, has not yet reached a conclusion. Recently, neuroscience and empirical psychology have tried to settle the problem of free will with a series of experiments that go in the direction of so-called illusionism: free will (...) as the conscious control of our behavior cannot exist, being a mere illusion. But even in this case, the experimental results are challenged at various levels. Considering that in most moral and legal systems, the subject’s liability derives from their freedom, the usefulness of preserving the concept of freedom – which incidentally responds to a very strong commonsensical intuition – suggests the need for an operational solution. This could be done by resorting to the concepts of capacity and cognitive control, which are measured by a set of well-established neuropsychological tests. Our preliminary proposal is to create an index, the first step towards a specific quantification and measurement of free will, to be used especially in ethical and legal contexts. Theoretical premises, practical difficulties and objections to this approach are also discussed and addressed. (shrink)

Leading Italian philosophers engage issues in ethics, politics, and religion.

Resumen La reseña, situada en la sección final de revistas especializadas, es un género textual típico del discurso científico, que ofrece información crítica acerca del contenido de una publicación reciente. El propósito del presente trabajo es enfocar el aspecto evaluativo del género reseña, ámbito propicio para la ocurrencia de diversas actividades de imagen de rol, de autocortesía, de cortesía y de descortesía. Este trabajo adopta el punto de vista discursivo-sociocultural para abordar los fenómenos de cortesía: Bravo y Kaul de Marlangeon. (...) Asimismo emplea la perspectiva de la teoría de la evaluación en el discurso, principalmente: Martin y Martin y White. El corpus ha sido extraído de reseñas de obras de autores hispanohablantes publicadas durante la última década en una selección de revistas internacionales de lingüística escritas en español: RILI, Signos, Discurso & Sociedad y Linred, donde se constata tanto el uso de los recursos evaluativos interconectados en el texto, como las diferentes actividades de imagen que desarrolla el reseñador. (shrink)

A lo largo de este artículo se aborda el contexto histórico, social, espiritual y teológico en el que se enmarca el pensamiento eckhartiano: la agitada situación de Alemania a finales del siglo XIII y principios del XIV, la incesante búsqueda espiritual de tantas mujeres, beguinas y monjas, de los grupos de amigos de Dios, y las desviaciones de los seguidores del Libre Espíritu. Junto a ello, la escuela filosófica de Colonia, establecida por San Alberto Magno, a la que perteneció el (...) Maestro Eckhart junto con sus discípulos, Suso y Tauler. Asimismo se presentan las principales nociones para comprender su teología mística, cómo concibe a Dios, al ser humano y su "fondo del alma", de qué manera se produce la unión del alma con Dios, la "irrupción" o el nacimiento del Verbo en el alma, y las condiciones para ello, como el desprendimiento de todo lo creado y de uno mismo, para recibir, por gracia, la Vida divina, la bienaventuranza eterna. (shrink)

We consider breath as a vast prospect that includes actions and traces of them, that builds images and texts, that involves the human being and the extra-human context; we call this great scenery ‘breathscape’. We then study how breathscape interacts with the human apparatus of the face, both giving rise to signs, but also giving rise to a liminal zone of extremely intriguing interpretative processes on a mereological scale. How and where do the territory of breath and the body interact? (...) Which processes of signification do they give rise to? And which signs are created in their phenomenal and semantic encounter? Art is certainly the most appropriate language for studying this process, as well as for letting opacities emerge and exploring outstanding contrasts. There are various concepts of ‘breathscape’ that, grounded in different cultures, are immediately associated with ancient and contemporary philosophies. As a reverberation from a semiotic interaction and through the discretization and identification of semantic fields relevant to the concerned scenario, and introducing textuality, a phenomenon seen as a crystallization of the transition between outer text (the text of reality) and text (subject/object), we consider those visual texts which are crossed by a common faculty that is both descriptive and inventive: by approaching some inferential and cultural regimes and analysing their specific enunciative practices, we then contribute to their renovation. The texts related to the practices as part of the narratives intrinsic to cultural semiospheres underline the insatiable vastness of epistemological content to be dealt with, and the functional reductionism of the corpus is only a first approach to the field that is intended to shed light on the general panorama and to stimulate subsequent debate and insights. (shrink)

Essays describe Italian philosopher Gianni Vattimo’s unique and radical hermeneutic philosophy.

Inverting the sequence of the traditional terms, in Otherwise than Being or Beyond Essence Levinas redefines philosophy as the “wisdom of love”. Through an intertwining of Platonic motifs and Levinasian inspirations, the essay argues for a mutually regulated interplay of mythos and logos as a way to regain a sense of wisdom that remains respectful of the elements of otherness in reality-in particular, respectful of the otherness of the Third who, for Levinas, constitutes the ground for politics. That is, the (...) interplay of mythos and logos results into a mytho-logy in which the logos directing the mythos is the voice of the other which imposes not only the preservation, but also the institutionalization of the differences, alterities and incommensurabilities that constitute reality. The consequence of this differently negotiated notion of wisdom is a reconfiguration of philosophy in terms of a mythological politics of bodily, economic testimony in the service of the Third. (shrink)

The philosophy of Bernard Williams, recognised as a prominent expression of ethical thought, presents an intense dialogue with ancient Greek tragic culture. Combining erudition and elegance, Williams evokes Greek tragedies to discuss modern ethical ideas and conceptions. Our article intends to consider Williams’ thought from a cultural point of view: we propose analysing Williams’ cultural methodology, which may be described as a way of thinking beyond the traditional dichotomies between the ancient and the modern, especially concerning the notion of the (...) tragic. Accordingly, we shall examine the affinities between ancient and modern tragic cultures by identifying common narrative and poetical elements. To do so, we shall consider the interpretation of Hamlet, developed by the classicist scholar H.D.F. Kitto. In Form and Meaning in Drama: A Study of Six Greek Plays and of “Hamlet” (1956), Kitto proposes reading Hamlet in close alliance with Oedipus Tyrannus. Kitto maintains that both tragedies are poetical expressions of a shared tragic element: miasma, or “pollution”, a concept thoroughly treated by Williams in the third chapter of Shame and Necessity. Our article aims to combine Williams’ cultural methodology—we may call it the deconstruction of the repeated theoretical frameworks regarding the differences between the ancient and the modern—and Kitto’s reading of Hamlet in line with Oedipus Tyrannus, which may be understood as an illustration of the persistence of common tragic elements beyond time and the historical separation of cultural periods. Our perspective shall be both cultural and aesthetical. (shrink)

Levinas’s most important contribution to contemporary philosophy is his continual vindication of the primacy of the ethical. For the contemporary reader, educated in the shadow of the Nietzschean thought that existence as will to power is art, this claim comes as an uneasy surprise. What is the place of the aesthetic within the preeminence of the ethical in Levinas’s philosophy? Or, more specifically, what is, for Levinas, the place of art in relation to the ethical? Through a Levinasian reading of (...) Plato, and a Platonic reading of Levinas, the paper argues in favor of Paul Celan’s statement that there is not “any basic difference... between a handshake and a poem.”. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part (...) sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)