- Amalia Salvestrini (Milan 1991) is Research Fellow at the Department of Philosophy of the University of Milan (projec... moreAmalia Salvestrini (Milan 1991) is Research Fellow at the Department of Philosophy of the University of Milan (project funded by the Cariplo Foundation: «Harmonia and affectus. Franciscan Aesthetics, Giottesque Painting and the Humanists»).
After a Second Level Academic Diploma in Viola at the Milan Conservatory and a Master Degree in Philosophical Sciences (UNIMI), she obtained a PhD in co-tutorship between the FINO Consortium and the EPHE (Paris), and she had a Research Fellow at the IISF (Naples).
Her publications include the monographs Bellezza retorica. Un percorso tematico nel pensiero di Nicola di Autrécourt, Preface by Christophe Grellard, Mimesis 2021 and L’artefice nel pensiero francescano, Preface by Olivier Boulnois, Milano University Press 2023.
Currently, her research concerns pre-modern origins of aesthetics, the relationships between Franciscan thought and Giottesque art, music and rhetoric, medieval gnoseology theories, the arts paragons, gnoseological aesthetic and musical issues developed from a phenomenological perspective.edit
Edizione online: https://libri.unimi.it/index.php/milanoup/catalog/book/105 Edizione su carta: ledizioni.it/prodotto/artefice-pensiero-francescano/#:~:text=La%20figura%20dell'artefice%20nel,divino%20e%20il%20produrre%20umano.... more
Edizione online: https://libri.unimi.it/index.php/milanoup/catalog/book/105
Edizione su carta:
ledizioni.it/prodotto/artefice-pensiero-francescano/#:~:text=La%20figura%20dell'artefice%20nel,divino%20e%20il%20produrre%20umano.
Abstract:
La figura dell'artefice nel pensiero francescano è indice di una riflessione attorno al fare poietico spesso sviluppata attraverso l'analogia tra il creare divino e il produrre umano. La monografia, dopo una prima parte dedicata alla genesi della idea di artefice in fonti scritturistiche, filosofiche e retoriche, approfondisce la costituzione filosofica dell'idea di artefice nel pensiero di quattro frati Minori: Bonaventura da Bagnoregio, Pietro di Giovanni Olivi, Giovanni Duns Scoto e Guglielmo di Ockham. Nell'articolazione del processo poietico in progetto, opera e fruizione, si tratteggiano così le linee di tendenza e gli aspetti invarianti che, pur nella variazione significativa tra i diversi autori, portano a domandarsi, in conclusione, sulla possibilità di una "estetica francescana".
Edizione su carta:
ledizioni.it/prodotto/artefice-pensiero-francescano/#:~:text=La%20figura%20dell'artefice%20nel,divino%20e%20il%20produrre%20umano.
Abstract:
La figura dell'artefice nel pensiero francescano è indice di una riflessione attorno al fare poietico spesso sviluppata attraverso l'analogia tra il creare divino e il produrre umano. La monografia, dopo una prima parte dedicata alla genesi della idea di artefice in fonti scritturistiche, filosofiche e retoriche, approfondisce la costituzione filosofica dell'idea di artefice nel pensiero di quattro frati Minori: Bonaventura da Bagnoregio, Pietro di Giovanni Olivi, Giovanni Duns Scoto e Guglielmo di Ockham. Nell'articolazione del processo poietico in progetto, opera e fruizione, si tratteggiano così le linee di tendenza e gli aspetti invarianti che, pur nella variazione significativa tra i diversi autori, portano a domandarsi, in conclusione, sulla possibilità di una "estetica francescana".
Research Interests:
Il pensiero del filosofo Nicola di Autrecourt (1295/99-1369) si è rivolto su temi quali la conoscenza, la natura e in parte la teologia. In questo studio tali argomenti sono osservati da un punto di vista che tematizza la bellezza e le... more
Il pensiero del filosofo Nicola di Autrecourt (1295/99-1369) si è rivolto su temi quali la conoscenza, la natura e in parte la teologia.
In questo studio tali argomenti sono osservati da un punto di vista che tematizza la bellezza e le modalità discorsive.
L’atteggiamento argomentativo e non dimostrativo di Nicola di Autrecourt consente di individuare uno stile retorico che costituisce il campo concettuale della bellezza: le sfumature di origine retorica riguardano gli ambiti della natura, del discorso, della creazione dell’opera e della civitas, nel contesto di un pensiero in cui è sempre presente una tensione fondativa, sebbene essa sia proposta su basi non metafisiche, bensì retoriche. Tensione che non solo riguarda il singolo soggetto, ma si apre altresì a un orizzonte “intersoggettivo”.
In questo studio tali argomenti sono osservati da un punto di vista che tematizza la bellezza e le modalità discorsive.
L’atteggiamento argomentativo e non dimostrativo di Nicola di Autrecourt consente di individuare uno stile retorico che costituisce il campo concettuale della bellezza: le sfumature di origine retorica riguardano gli ambiti della natura, del discorso, della creazione dell’opera e della civitas, nel contesto di un pensiero in cui è sempre presente una tensione fondativa, sebbene essa sia proposta su basi non metafisiche, bensì retoriche. Tensione che non solo riguarda il singolo soggetto, ma si apre altresì a un orizzonte “intersoggettivo”.
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Questo numero di Doctor virtualis si interroga sul concetto di ordine e sulla sua valenza all’interno della riflessione medievale: siamo di fronte a uno strumento conoscitivo con cui intellettuali di varia formazione e operanti in ambiti... more
Questo numero di Doctor virtualis si interroga sul concetto di ordine e sulla sua valenza all’interno della riflessione medievale: siamo di fronte a uno strumento conoscitivo con cui intellettuali di varia formazione e operanti in ambiti diversi cercano di affrontare la complessità del proprio mondo, oppure, come forse è lecito a prima vista attendersi da un’epoca come quella medievale, a una struttura metafisica già data, di tipo oggettivo, che rappresenta una garanzia rispetto alla disarmonia del mondo e delle relazioni fra gli uomini?
Per chi vive nella nostra epoca il disordine, spesso qualificato come frammentazione o complessità, appare la premessa inevitabile da cui partire per trovare, seppure in modo limitato e contingente, sensi possibili, accettando che ciò a cui si giunge non rappresenti mai una garanzia stabile o, per dirla in termini religiosi, una salvezza. Forse anche questo giustifica la persistente attrazione verso l’epoca medievale che, nonostante i molti tratti di presunto buio, sembra avere posto l’ordine, un ordine salvifico, a fondamento di qualsiasi riflessione e a giustificazione di qualsiasi disarmonia.
L’ipotesi di ricerca da cui trae origine questo numero è che anche in epoca medievale l’ordine si presenti come esigenza e dunque come risultato di una costruzione che, attraverso i più svariati strumenti conoscitivi, punti a rendere conto del disordine, cercando di sciogliere e dipanare l’intreccio di cause ed effetti che caratterizza i vari spazi del mondo abitati dagli uomini. Per questa ragione abbiamo deciso di intitolare il fascicolo Frammenti di ordine e disordine nel Medioevo, per evitare qualsiasi presupposto che già in partenza definisca un intero compiuto e stabile, e suggerire che anche per l’epoca medievale sia possibile lavorare intorno alla ricostruzione di parti che appaiono disperse nell’attesa che la riflessione le ricomponga.
Edizione su carta, Biblion edizioni: https://www.biblionedizioni.it/ordine-e-disordine-nel-medioevo/?utm_source=mailpoet&utm_medium=email&utm_source_platform=mailpoet&utm_campaign=gli-ultimi-newsletter-total-articoli-dal-nostro-blog_6
Presto disponibile in Open Access sul sito della rivista: https://riviste.unimi.it/index.php/DoctorVirtualis/
Per chi vive nella nostra epoca il disordine, spesso qualificato come frammentazione o complessità, appare la premessa inevitabile da cui partire per trovare, seppure in modo limitato e contingente, sensi possibili, accettando che ciò a cui si giunge non rappresenti mai una garanzia stabile o, per dirla in termini religiosi, una salvezza. Forse anche questo giustifica la persistente attrazione verso l’epoca medievale che, nonostante i molti tratti di presunto buio, sembra avere posto l’ordine, un ordine salvifico, a fondamento di qualsiasi riflessione e a giustificazione di qualsiasi disarmonia.
L’ipotesi di ricerca da cui trae origine questo numero è che anche in epoca medievale l’ordine si presenti come esigenza e dunque come risultato di una costruzione che, attraverso i più svariati strumenti conoscitivi, punti a rendere conto del disordine, cercando di sciogliere e dipanare l’intreccio di cause ed effetti che caratterizza i vari spazi del mondo abitati dagli uomini. Per questa ragione abbiamo deciso di intitolare il fascicolo Frammenti di ordine e disordine nel Medioevo, per evitare qualsiasi presupposto che già in partenza definisca un intero compiuto e stabile, e suggerire che anche per l’epoca medievale sia possibile lavorare intorno alla ricostruzione di parti che appaiono disperse nell’attesa che la riflessione le ricomponga.
Edizione su carta, Biblion edizioni: https://www.biblionedizioni.it/ordine-e-disordine-nel-medioevo/?utm_source=mailpoet&utm_medium=email&utm_source_platform=mailpoet&utm_campaign=gli-ultimi-newsletter-total-articoli-dal-nostro-blog_6
Presto disponibile in Open Access sul sito della rivista: https://riviste.unimi.it/index.php/DoctorVirtualis/
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Il presente numero desidera «dare voce ai molteplici volti del Medioevo» e offrire al lettore «una raccolta di saggi che, senza alcuna pretesa di esaustività, intende proporre e indagare alcune forme del narrare il Medioevo, nei loro... more
Il presente numero desidera «dare voce ai molteplici volti del Medioevo» e offrire al lettore «una raccolta di saggi che, senza alcuna pretesa di esaustività, intende proporre e indagare alcune forme del narrare il Medioevo, nei loro aspetti non solo letterari, ma altresì storiografici, cinematografici e cartografici».
https://riviste.unimi.it/index.php/DoctorVirtualis/issue/view/1584
https://riviste.unimi.it/index.php/DoctorVirtualis/issue/view/1584
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In the light of the Panofskian analogy between scholastic thought and Gothic cathe-drals, which share the same mental habit, and the interpretative problems it pre-sents, the article intends to investigate a possible way to... more
In the light of the Panofskian analogy between scholastic thought and Gothic cathe-drals, which share the same mental habit, and the interpretative problems it pre-sents, the article intends to investigate a possible way to lighten the architectural metaphor by shifting the discourse to the level of aesthetic habit through a phenom-enology of ornamentation, in order to achieve interesting results on a theoretical and aesthetic level. Starting from Giovanni Piana’s observations on chromaticism in music as a di-alectic between continuous and discrete, the theme of ornamentation in architecture is explored in this sense, focusing on two examples: the tiles of Giotto’s Campanile of Santa Maria del Fiore in Florence and those of the intradoses on the facade of the Turin Cathedral. While in the former one notices, for example, a discretisation of the vertical continuum in grace of the horizontality of a narration of social practices (the liberal and mechanical arts), which have also become aesthetic habits, in the decorations on the portals of the Turin Cathedral, in some cases, one observes a fluidification of the discrete into a continuous narration. The idea of ornamentation as an aesthetic habit is thus outlined, an ornament in which the practices of a certain society are settled, in which the continuities of forms are discretised, or discrete relations are fluidised according to visual or sonorous consonant relationships. Keywords: aesthetic habits, ornament, Giotto’s Bell Tower, Duomo of Turin, phenom-enology, music
Link al volume completo: https://www.francoangeli.it/Libro/AbiTO.-Abitudini-estetiche-e-arte-pubblica?Id=29251
Link al volume completo: https://www.francoangeli.it/Libro/AbiTO.-Abitudini-estetiche-e-arte-pubblica?Id=29251
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Musical space in its general sense can be defined as the relational structure of the sound phenomenon (Piana 1991, 2013), considered internally in the imaginative significance of the sound matter and externally in its relationship with... more
Musical space in its general sense can be defined as the relational structure of the sound phenomenon (Piana 1991, 2013), considered internally in the imaginative significance of the sound matter and externally in its relationship with the sound body and the environment. According to Giovanni Piana (2013, but see also Serra 2008 and Di Stefano 2022), the concept has two meanings. The first is a transposed or internal one, referring to sound as such, i.e. in itself, and to some qualities of sound perception, such as intervals, rhythms, melodies, and timbres, which can be interpreted in terms of spatiality. The second is a literal or external meaning, indicating the relationships between sound sources, movement and resonance in a resonant body or environment. As a structural aspect of sound matter and, correlatively, of the ways in which it is understood, sound spatiality has been the subject of various insights in different epochs and cultures.
URL: https://lexicon.mimesisjournals.com/international_lexicon_of_aesthetics_item_detail.php?item_id=144
URL: https://lexicon.mimesisjournals.com/international_lexicon_of_aesthetics_item_detail.php?item_id=144
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The text approaches the idea of labour in the classifications of knowledge (13th-16th c.), especially concerning liberal and mechanical arts. The authors addressed show an increased interest in manual work. The mechanical arts, in a first... more
The text approaches the idea of labour in the classifications of knowledge (13th-16th c.), especially concerning liberal and mechanical arts. The authors addressed show an increased interest in manual work. The mechanical arts, in a first moment and starting from Hugh of Saint Victor are included in the cognitive ascent to God (Bonaventure) or in the theoretical philosophy as subaltern sciences (Kilwardby); in a second moment, also the «sordid and sedentary arts» are also part of a renewed educational project (Poliziano). In parallel, the valorisation of some mechanicae emerges in the dispute on the arts paragon. While certain authors aim to elevate the «drawing arts» to the liberal status (Alberti, Varchi), Leonardo da Vinci recognises painting as a leading liberal art.
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The contribution explores the valorisation of human labour in the Didascalicon by Hugh of Saint Victor. Following a brief outline of Hugh’s life and main works, one underlines the principal points of interest of his classification of... more
The contribution explores the valorisation of human labour in the Didascalicon by Hugh of Saint Victor. Following a brief outline of Hugh’s life and main works, one underlines the principal points of interest of his classification of philosophy. 1. For the first time the mechanical arts are part of philosophy, albeit considered in their theoretical aspect. 2. Hugh proposes a parallel between liberal and mechanical arts, according to which the external sphere of the trivium and the internal one of the quadrivium correspond to the seven mechanical arts. 3. The organic nature of the division depends from the idea that humanity lost its perfect condition with original sin, hence the need to repair both the spiritual and the bodily part of man with the liberal and mechanical arts.
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SUMMARY: This essay analyzes the idea of beauty as it appears in writings of the Franciscan milieu, from Francis of Assisi to Bonaventure of Bagnoregio. The aim is to verify whether there may be common traits and directions that... more
SUMMARY: This essay analyzes the idea of beauty as it appears in
writings of the Franciscan milieu, from Francis of Assisi to Bonaventure
of Bagnoregio. The aim is to verify whether there may be common traits
and directions that contribute to the construction of a concept of minor
beauty. To this end, bearing in mind the stratification of philosophical,
rhetorical and mathematical-musical traditions, particular attention is
given to the lexical and conceptual variations of beauty regarding three
themes dear to the Friars Minor: stigmata, poverty, and creatures. Thus,
the humble aspects of creation, the choice of a life of poverty, and the
marks of Christ impressed upon a suffering body animated by intense
spiritual love, circumscribe an idea of beauty that is often material,
perceived in its harmonious relationships and capable of conveying one
to the sublime heavenly regions.
https://shop.cisam.org/index.php?route=product/category&path=21_34
writings of the Franciscan milieu, from Francis of Assisi to Bonaventure
of Bagnoregio. The aim is to verify whether there may be common traits
and directions that contribute to the construction of a concept of minor
beauty. To this end, bearing in mind the stratification of philosophical,
rhetorical and mathematical-musical traditions, particular attention is
given to the lexical and conceptual variations of beauty regarding three
themes dear to the Friars Minor: stigmata, poverty, and creatures. Thus,
the humble aspects of creation, the choice of a life of poverty, and the
marks of Christ impressed upon a suffering body animated by intense
spiritual love, circumscribe an idea of beauty that is often material,
perceived in its harmonious relationships and capable of conveying one
to the sublime heavenly regions.
https://shop.cisam.org/index.php?route=product/category&path=21_34
Research Interests:
Critical reconstruction of the Italian debate on the relationship between aesthetics and rhetoric. Variously defined throughout its history, rhetoric can be understood in a general sense as the art or discipline of truthful discourse... more
Critical reconstruction of the Italian debate on the relationship between aesthetics and rhetoric.
Variously defined throughout its history, rhetoric can be understood in a general sense as the art or discipline of truthful discourse aimed at persuasion. In the second half of the 20th century, there was a revival of rhetoric thanks to the great impetus provided by Perelman and Olbrechts-Tyteca, who with their Treatise on Argumentation. The new rhetoric regained the realm of the plausible and probable in the realm of reason, albeit critically understood, thus removing it from the irrational.
Against the backdrop of these premises, this entry is intended to develop the specific theme of how rhetoric revived the interests of aesthetic reflection in the second half of the 20th century along two main axes.
On the one hand, aesthetics, partly inspired by phenomenology, starting above all from the schools of Banfi and Anceschi, has deepened the study of aesthetic concepts of rhetorical derivation (the sublime and metaphor, for example), on the basis of precise theoretical positions when not aimed at directly proposing theoretical perspectives (Banfi, Carchia, Franzini, Lombardo, Mattioli, Saint-Girons, for example). On the other hand, there was a tendency that saw rhetoric as an essential reference and comparison point for developing a critique of reason and circumscribing its aesthetic space (from Preti to Franzini).
Variously defined throughout its history, rhetoric can be understood in a general sense as the art or discipline of truthful discourse aimed at persuasion. In the second half of the 20th century, there was a revival of rhetoric thanks to the great impetus provided by Perelman and Olbrechts-Tyteca, who with their Treatise on Argumentation. The new rhetoric regained the realm of the plausible and probable in the realm of reason, albeit critically understood, thus removing it from the irrational.
Against the backdrop of these premises, this entry is intended to develop the specific theme of how rhetoric revived the interests of aesthetic reflection in the second half of the 20th century along two main axes.
On the one hand, aesthetics, partly inspired by phenomenology, starting above all from the schools of Banfi and Anceschi, has deepened the study of aesthetic concepts of rhetorical derivation (the sublime and metaphor, for example), on the basis of precise theoretical positions when not aimed at directly proposing theoretical perspectives (Banfi, Carchia, Franzini, Lombardo, Mattioli, Saint-Girons, for example). On the other hand, there was a tendency that saw rhetoric as an essential reference and comparison point for developing a critique of reason and circumscribing its aesthetic space (from Preti to Franzini).
Research Interests:
Research Interests:
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/19488 Starting from some aspects of the contemporary debate on metaphor, the article proposes a path through various figures of artifex to question the philosophical,... more
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/19488
Starting from some aspects of the contemporary debate on metaphor, the article proposes a path through various figures of artifex to question the philosophical, cognitive and heuristic aim of analogy and defend its rhetorical dimension. The theme of the artifex and his creative-productive process often appears in the form of analogy. It has undergone significant variations throughout history, most notably the displacement of the domain and purpose of analogy from the transcendent to the immanent. An itinerary is proposed that begins with the Franciscan Bonaventure of Bagnoregio, who shares the main features of the Augustinian and monastic metaphysics of relationship in which the analogy of proportionality plays a central role not only in the structure of being, but also in the progress of knowledge. The question in the modern age is addressed with brief references to some figures of the Renaissance (Leon Battista Alberti, Leonardo da Vinci) and modern age (Baudelaire, Kandinsky) in which the interest shifts to immanence. Finally, the role of analogy in the creative processes outlined by Paul Valéry is explored, where it becomes the main function of the universal power of the mind. Concluding remarks are proposed, firstly theoretical, on the philosophical, cognitive and heuristic dimension of analogy in different historical periods; and then methodical on the use of analogy in the history of philosophy.
Starting from some aspects of the contemporary debate on metaphor, the article proposes a path through various figures of artifex to question the philosophical, cognitive and heuristic aim of analogy and defend its rhetorical dimension. The theme of the artifex and his creative-productive process often appears in the form of analogy. It has undergone significant variations throughout history, most notably the displacement of the domain and purpose of analogy from the transcendent to the immanent. An itinerary is proposed that begins with the Franciscan Bonaventure of Bagnoregio, who shares the main features of the Augustinian and monastic metaphysics of relationship in which the analogy of proportionality plays a central role not only in the structure of being, but also in the progress of knowledge. The question in the modern age is addressed with brief references to some figures of the Renaissance (Leon Battista Alberti, Leonardo da Vinci) and modern age (Baudelaire, Kandinsky) in which the interest shifts to immanence. Finally, the role of analogy in the creative processes outlined by Paul Valéry is explored, where it becomes the main function of the universal power of the mind. Concluding remarks are proposed, firstly theoretical, on the philosophical, cognitive and heuristic dimension of analogy in different historical periods; and then methodical on the use of analogy in the history of philosophy.
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The article aims to deepen the aesthetic concept of imagination in the pre-modern age and in particular in Augustine of Hippos' thought. One develops the topic in three parts. The first part points out the emergence of the notion of... more
The article aims to deepen the aesthetic concept of imagination in the pre-modern age and in particular in Augustine of Hippos' thought. One develops the topic in three parts. The first part points out the emergence of the notion of imagination starting from the relationship between memory and will as it is treated in the De trinitate concerning the trinity of remembrance. The second part studies the rhetorical constitution of the imagination in its relationship with the rhetorical structuring of the Augustinian concept of memory, also referred to as the notion of invention. The last part exemplifies the conferment of a rhetorical sense of imagination through the productive activity of the craftsman. Therefore, the rhetorical constitution exhibits a concept of imagination understood both as a dynamic force capable of connecting the sensible and the intelligible, and as a free variation of images and memorative notions. By choosing a moment prior to the modern birth of the discipline of aesthetics, the constitution of the idea of imagination from the rhetorical side of its description is thus highlighted.
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Research Interests:
This article sets out to clarify the status of the mental being in the work of Nicholas of Autrecourt (1295/99-1369) concerning the notion of appearance. Three features of mental being emerge from the cognitive process as described by... more
This article sets out to clarify the status of the mental being in the work of Nicholas of Autrecourt (1295/99-1369) concerning the notion of appearance. Three features of mental being emerge from the cognitive process as described by Nicholas, namely (1) the intentional reference of cognitive acts to the thing, (2) the multiplication and comparison of different knowledge in order to grasp the thing in its wholeness, and (3) the mind's grasping of reality, which occurs, in Autrecourt's view, in a probabilistic and non-certain way. These three aspects of mental being constitute the outline of Autrecourt's particular perspective on knowledge.
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In order to explore forms of Aesthetics in periods before its history, one intends to investigate the aesthetic aspects of the forms maker by focusing on the Bonaventure's Franciscan thought, which represents a decisive turning point in... more
In order to explore forms of Aesthetics in periods before its history, one intends to investigate the aesthetic aspects of the forms maker by focusing on the Bonaventure's Franciscan thought, which represents a decisive turning point in the diachronic sense of poiesis. A thought that perhaps contributes to both the artistic innovations introduced by Giotto and the Renaissance turn in the concept of the maker observed here in authors such as Leon Battista Alberti and Leonardo da Vinci.
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Introduzione di "Doctor Virtualis" 16: Narrare il Medioevo
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ABSTRACT: The aim of the article is to propose a possible path in the history of European thought in order to explore the question concerning the gnoseological foundation of the sharing of human rights, given the... more
ABSTRACT: The aim of the article is to propose a possible path in the history of European thought in order to explore the question concerning the gnoseological foundation of the sharing of human rights, given the pluralist context of our contemporary world. Starting from two concepts that have a rhetorical and juridical origin, namely constitutio and apparentia in philosophers as distant in time as Cicero, Nicholas of Autrecourt and Edmund Husserl, we can trace the traits of three figures of critical reason as a possible condition of a dialogical perspective for the gnoseological foundation of the sharing of human rights.
URL: https://fundamentalrights.it/wp-content/uploads/2021/09/N.-5-SALVESTRINI.pdf
URL: https://fundamentalrights.it/wp-content/uploads/2021/09/N.-5-SALVESTRINI.pdf
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The article intends to investigate the capacity of representation to refer to further meanings in the thought of Bonaventure of Bagnoregio (1217/21-1274), starting from the Dino Formaggio's conception of the ways of meaning in art: art is... more
The article intends to investigate the capacity of representation to refer to further meanings in the thought of Bonaventure of Bagnoregio (1217/21-1274), starting from the Dino Formaggio's conception of the ways of meaning in art: art is communication because it signifies in a plurivocal, plurivalent and uni-situational way. According to Bonaventure, natural and artificial things, as creation of the poietic activity of divine and human artifex, refer to further meanings also by the attitude of the observer that can consider the image as that which refers to a univocal sensible meaning, or as that which refers to an ulteriority, a multiplicity of spiritual senses. The Bonaventure's idea of the ulteriority of representation arises also in the Franciscan art of the 13 th and the 14 th century and, with the emergence of the consciousness of the artist during this period, can confirm also from an historical point of view the conception of communication in art proposed by the Italian philosopher Dino Formaggio.
URL: https://riviste.unimi.it/index.php/itinera/article/view/16113
URL: https://riviste.unimi.it/index.php/itinera/article/view/16113
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L’articolo intende approfondire la questione del Medioevo come luogo di narrazioni a partire dal romanzo di Louis De Wohl (1903-1961) dedicato ad Agostino d’Ippona, Una fiamma inestinguibile (1952) e dal tema della retorica. Il tema della... more
L’articolo intende approfondire la questione del Medioevo come luogo di narrazioni a partire dal romanzo di Louis De Wohl (1903-1961) dedicato ad Agostino d’Ippona, Una fiamma inestinguibile (1952) e dal tema della retorica. Il tema della retorica, come una delle dimensioni possibili in cui rappresentare la storia, dà vita sia a una peculiare narrazione descrittiva del Medioevo, plurale e variegata, sia a una narrazione creatrice della storia stessa, dal momento che la potenza della parola di Agostino viene colta nella sua capacità di incidere e trasformare la storia stessa. Il contributo si conclude con l’analisi di alcuni tratti salienti di altri romanzi di ambientazione medievale di De Wohl, su Francesco d’Assisi (1958) e su Tommaso d’Aquino (1950), per osservarne la peculiare rappresentazione di Medioevo che a tratti sembra andare oltre agli schemi storiografici degli anni in cui sono scritti.
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Man and God. The figure of ARTIFEX in Medieval philosophical and theological texts is indicated also by the terms opifex, faber, and more rarely pictor, sculptor, architectus. These terms refer to a wider semantic field compared to the... more
Man and God. The figure of ARTIFEX in Medieval philosophical and theological texts is indicated also by the terms opifex, faber, and more rarely pictor, sculptor, architectus. These terms refer to a wider semantic field compared to the modern concept of artist. In the Middle Ages the concept of art in the modern meaning of fine arts did not exist, then the maker was one who was busy in a productive activity of any nature. Therefore, the ARTIFEX could be an artisan, a smith, a painter, or a sculptor, but the last two notions imply having a particular know-how.
https://link.springer.com/chapter/10.1007%2F978-3-030-51324-5_5
https://link.springer.com/chapter/10.1007%2F978-3-030-51324-5_5
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The essay concerns the question of the possibility of mystical thought in the reflection of John of Salisbury and that of what is the relationship with his theory of knowledge. The pulchrum represents one of the themes through which one... more
The essay concerns the question of the possibility of mystical thought in the reflection of John of Salisbury and that of what is the relationship with his theory of knowledge. The pulchrum represents one of the themes through which one can approach this issue, because proves problematic the relationship between human being and God, immanent and transcendent, on multiple levels of John's thought. Into his general sceptical attitude, the pulchrum is articulated in some dimensions of the musical harmony, both cosmic and human, such as proportio or venustas. In addition, it is understood as measure, number and weight with which God creates and that are signs of his ineffability in a Diony-sian meaning. The concept of beauty is also related to the relationship between form and content concerning both rhetoric and poetry. Finally, it concerns the proportional order that regulates not only the cosmos, but also the res publica, in the moments in which the aspects of Dionysian derivation mainly emerge.
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/13118
Il saggio affronta la questione se nel pensiero di Giovanni di Salisbury sia presente un pensiero mistico e quella di quali siano le relazioni con la sua teoria della conoscenza. Il pulchrum rappresenta uno dei temi tramite cui è possibile riflettere su tale questione, poiché problematizza il rapporto tra umano e divino, tra immanente e trascendente, su più livelli del discorso salisburiano. All'interno del generale atteggiamento scettico dell'autore, il pulchrum si articola nelle dimensioni dell'armonia musicale cosmica e umana, come proportio o venustas; dei criteri di misura, numero e peso con cui Dio crea e che sono indici della sua ineffabilità in senso dionisiano; dell'armonia tra forma e contenuto proprie della retorica e della poesia; infine dell'ordine proporzionale che regola non solo il cosmo, ma anche la res publica. Il saggio conclude individuando un atteggiamento mistico, che non è propriamente pensiero mistico, nei momenti in cui maggiormente emergono gli aspetti di ispirazione dionisiana.
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/13118
Il saggio affronta la questione se nel pensiero di Giovanni di Salisbury sia presente un pensiero mistico e quella di quali siano le relazioni con la sua teoria della conoscenza. Il pulchrum rappresenta uno dei temi tramite cui è possibile riflettere su tale questione, poiché problematizza il rapporto tra umano e divino, tra immanente e trascendente, su più livelli del discorso salisburiano. All'interno del generale atteggiamento scettico dell'autore, il pulchrum si articola nelle dimensioni dell'armonia musicale cosmica e umana, come proportio o venustas; dei criteri di misura, numero e peso con cui Dio crea e che sono indici della sua ineffabilità in senso dionisiano; dell'armonia tra forma e contenuto proprie della retorica e della poesia; infine dell'ordine proporzionale che regola non solo il cosmo, ma anche la res publica. Il saggio conclude individuando un atteggiamento mistico, che non è propriamente pensiero mistico, nei momenti in cui maggiormente emergono gli aspetti di ispirazione dionisiana.
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The essay outlines the debate around the question on the existence of Medieval Aesthetics starting from the publication of Arte e bellezza nell’estetica medievale by Umberto Eco (1987). Since the last decade of the 20th century, the... more
The essay outlines the debate around the question on the existence of Medieval Aesthetics starting from the publication of Arte e bellezza nell’estetica medievale by Umberto Eco (1987). Since the last decade of the 20th century, the question on Medieval Aesthetics receives a particular attention from a methodological point of view also because it is close to different disciplines as History, History of Art, Aesthetics and History of Philosophy. A renewed interest in the image theme, in History and History of Art, permits to study the pre-modern period without using anachronistic categories like that of “Art”. In the field of Aesthetics scholars rethink how to approach the question about its history. In this context, History of Philosophy reviews its own categories asking how it is possible to talk about thematic objects that traditionally belong to Aesthetics.
https://riviste.unimi.it/index.php/Lebenswelt/article/view/12070
https://riviste.unimi.it/index.php/Lebenswelt/article/view/12070
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The essay intends to underline in the philosophical thought of Nicholas of Autrecourt (1295/99-1369) the relationships with rhetorical and juridical traditions, focusing on the way in which Autrecourt reworks some concepts and questions... more
The essay intends to underline in the philosophical thought of Nicholas of Autrecourt (1295/99-1369) the relationships with rhetorical and juridical traditions, focusing on the way in which Autrecourt reworks some concepts and questions of legal nature. It emerges historical and theoretical importance of his legal studies at the University of Orléans. In his thought are probably present some reflections of Masters of Law of the 13th and 14th century, like Jacques de Revigny, Pierre de Belleperche and their successors. Paying attention to the Autrecourt’s concept of apparentia, thanks to the interrelation of juridical and rhetorical traditions, one outlines a theory that testifies the dialogue of different knowledge of several traditions, places and faculties. Affirming in a probabilistic way that all appearances are true, Nicholas distinguishes between full proofs and not-full poofs, appearances that are persuasive in themselves and appearances that permits to approximate to the true only if they are compared to each other and evaluated by the judgment. He drafts almost a theory of normal that brings to the rejection of not relevant proofs, until to reach to a theory of knowledge that opens to a collective dimension and that appears rhetorically founded.
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In the History of Medieval Philosophy’s studies, the question of Franciscan philosophies has been the subject of controversy concerning the definition of an essence of Franciscan thought, about the relationship with Francesco d’Assisi, of... more
In the History of Medieval Philosophy’s studies, the question of Franciscan philosophies has been the subject of controversy concerning the definition of an essence of Franciscan thought, about the relationship with Francesco d’Assisi, of specific topics of reflection and relationship with the previous philosophical traditions.
It is a controversial Franciscanism even within the same historiographical tradition, such as the Neo-Scholastic one.
Starting from the awareness of the problematic nature of the issue, the essay focuses on the possible common peculiarities of the theories of knowledge in some Franciscan thinkers between the 13th and 14th centuries, such as Pietro Giovanni Olivi and Pietro Aureolo, starting from the concepts of conversio, intentio, reflexio and their relationship with the Augustinian tradition.
Thus the theories of knowledge are delineated which privilege the activity and the immediacy of knowing, both for direct and reflected knowledge.
Finally, these features can also be grasped in a non-Franciscan but secular author like Nicola di Autrecourt, whose theory of knowledge has made mention of a type of internalism close to that of the 14th century Franciscan movement (Grelllard). Therefore, in conclusion, while on the one hand the idea of common particularities of Franciscan thought can not be hypostatised, on the other hand we can perhaps speak of a common discursive universe in which the figure of Francesco d’Assisi shows his philosophical significance in history.
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/10357
It is a controversial Franciscanism even within the same historiographical tradition, such as the Neo-Scholastic one.
Starting from the awareness of the problematic nature of the issue, the essay focuses on the possible common peculiarities of the theories of knowledge in some Franciscan thinkers between the 13th and 14th centuries, such as Pietro Giovanni Olivi and Pietro Aureolo, starting from the concepts of conversio, intentio, reflexio and their relationship with the Augustinian tradition.
Thus the theories of knowledge are delineated which privilege the activity and the immediacy of knowing, both for direct and reflected knowledge.
Finally, these features can also be grasped in a non-Franciscan but secular author like Nicola di Autrecourt, whose theory of knowledge has made mention of a type of internalism close to that of the 14th century Franciscan movement (Grelllard). Therefore, in conclusion, while on the one hand the idea of common particularities of Franciscan thought can not be hypostatised, on the other hand we can perhaps speak of a common discursive universe in which the figure of Francesco d’Assisi shows his philosophical significance in history.
https://riviste.unimi.it/index.php/DoctorVirtualis/article/view/10357
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Il testo intende recensire il libro di Donato Pirovano La nudità di Beatrice. Dante, Giotto, Ambrogio Lorenzetti e l’iconografia della Carità, Donzelli Editore, Roma 2023, 229 pp. In cui si sostiene che il sonetto di Dante Alighieri A... more
Il testo intende recensire il libro di Donato Pirovano La nudità di Beatrice. Dante, Giotto, Ambrogio Lorenzetti e l’iconografia della Carità, Donzelli Editore, Roma 2023, 229 pp. In cui si sostiene che il sonetto di Dante Alighieri A ciascun’alma presa e gentil core ha avuto un ruolo significativo nel rinnovamento dell'iconografia della Carità a partire da Giotto.
URL: https://riviste.unimi.it/index.php/carteromanze/article/view/21783
URL: https://riviste.unimi.it/index.php/carteromanze/article/view/21783
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Research Interests:
Presentazine di Doctor Virtualis 18: Analogia e medioevo, sive vent'anni di analogie Incontro online, venerdì 15 marzo 2024, ore 18 Richiedere il link a: doctorvirtualis@gmail.com Edizione digitale:... more
Presentazine di Doctor Virtualis 18: Analogia e medioevo, sive vent'anni di analogie
Incontro online, venerdì 15 marzo 2024, ore 18
Richiedere il link a: doctorvirtualis@gmail.com
Edizione digitale: https://riviste.unimi.it/index.php/DoctorVirtualis/
Incontro online, venerdì 15 marzo 2024, ore 18
Richiedere il link a: doctorvirtualis@gmail.com
Edizione digitale: https://riviste.unimi.it/index.php/DoctorVirtualis/
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Présentation dans le Colloque international dirigé par C. Trottmann, F. Mariani Zini: Metaphysica paupera. La speculation métaphysique humaniste (XIVe XVIe sieècles), 15-17 juin 2002. Lieu : Centre d’études supérieures de la Renaissance,... more
Présentation dans le Colloque international dirigé par C. Trottmann, F. Mariani Zini: Metaphysica paupera. La speculation métaphysique humaniste (XIVe XVIe sieècles), 15-17 juin 2002.
Lieu : Centre d’études supérieures de la Renaissance, Tours
Lieu : Centre d’études supérieures de la Renaissance, Tours
Research Interests:
Research Interests:
Séminaire Théologie et technique, Collège des Bernardins