Con-textos Kantianos: International Journal of Philosophy, 2020
The notion of normativity has been key to an actualizing reading of the subjective universality t... more The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity.
Con-textos Kantianos: International Journal of Philosophy, 2021
Melancholy occupies a privileged place in the Kantian taxonomy of temperaments since the pre- cri... more Melancholy occupies a privileged place in the Kantian taxonomy of temperaments since the pre- critical phase, but it is in the Nineties that it reveals its philosophical fecundity. Melancholy becomes, in fact, an interesting notion not so much because of its relationship with Kantian biography, nor because of its presence in the description of psychopathies, but because it lies, unique in this, on the borderline between pathology and sanity. Melancholy thus provides an opportunity to show the topicality of Kantian reflection on mental illness since it underlines the continuity, and not the rupture, between the healthy mental state and that affected by illness, in line with today's most widespread tendencies to consider mental illness as a privileged observatory of the subject.
Referring to the notion of representation, I will argue the idea that disgust continues to consti... more Referring to the notion of representation, I will argue the idea that disgust continues to constitute a limitation for art and that the presence of the disgusting can be read through the Freudian notion of taboo. The indulgence of artistic creation in disgust, in fact, would confirm the fact that only what is domesticated, thus what does not arouse authentic disgust, can be assimilated by art. On the contrary, authentic disgust remains taboo insofar as it indicates the absolutely other, the unassimilable, a non-domesticated animality extraneous to the process of civilization. It is, after all, what classical aesthetics had already shown and that today can be reread in Freudian terms.
In the XVII Century, the use of metaphor and analogy mainly characterize aesthetics essays, in wh... more In the XVII Century, the use of metaphor and analogy mainly characterize aesthetics essays, in which it is constant a recall to the Leibnitian je ne sais quoi. As Elio Franzini writes, one of the main characteristics of the XVII Century thought is to bring back the perception of art or ...
Con-textos Kantianos: International Journal of Philosophy, 2020
The notion of normativity has been key to an actualizing reading of the subjective universality t... more The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity.
Con-textos Kantianos: International Journal of Philosophy, 2021
Melancholy occupies a privileged place in the Kantian taxonomy of temperaments since the pre- cri... more Melancholy occupies a privileged place in the Kantian taxonomy of temperaments since the pre- critical phase, but it is in the Nineties that it reveals its philosophical fecundity. Melancholy becomes, in fact, an interesting notion not so much because of its relationship with Kantian biography, nor because of its presence in the description of psychopathies, but because it lies, unique in this, on the borderline between pathology and sanity. Melancholy thus provides an opportunity to show the topicality of Kantian reflection on mental illness since it underlines the continuity, and not the rupture, between the healthy mental state and that affected by illness, in line with today's most widespread tendencies to consider mental illness as a privileged observatory of the subject.
Referring to the notion of representation, I will argue the idea that disgust continues to consti... more Referring to the notion of representation, I will argue the idea that disgust continues to constitute a limitation for art and that the presence of the disgusting can be read through the Freudian notion of taboo. The indulgence of artistic creation in disgust, in fact, would confirm the fact that only what is domesticated, thus what does not arouse authentic disgust, can be assimilated by art. On the contrary, authentic disgust remains taboo insofar as it indicates the absolutely other, the unassimilable, a non-domesticated animality extraneous to the process of civilization. It is, after all, what classical aesthetics had already shown and that today can be reread in Freudian terms.
In the XVII Century, the use of metaphor and analogy mainly characterize aesthetics essays, in wh... more In the XVII Century, the use of metaphor and analogy mainly characterize aesthetics essays, in which it is constant a recall to the Leibnitian je ne sais quoi. As Elio Franzini writes, one of the main characteristics of the XVII Century thought is to bring back the perception of art or ...
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