Aestetics

In light of the above, the number K wish to dedicate to the figure of Pinocchio, both as a character and as the whole literary work, should follow a series of tracks:
1. Pinocchio is a literary work entered into dialogue with other artistic forms: theater, cinema, music.
Pinocchio appears as a universe of figures, symbols and allegories which, from the earliest illustrated versions of the text, have made it possible for the story to turn into images or individual acting gestures. Moreover, together with other similar cases (see Cervantes' Don Quixote), Pinocchio is, significantly, one of those novels whose cinematographic transposition has been the occasion of bad, failed, or never realized projects. In this way, Collodi's story shows, how the act of creation,
never guaranteed and always free, is the place of any possible dismissal.
2. Collodi's work remains a valuable document for reading one of the most significant pages of Italian history, immediately after unification. Through this backlight, a testimony of social and economic history is to be found in Pinocchio, a place where the school is given the puzzling and
problematic task of forming, by educating it, a nascent nation. In its complexity, Pinocchio is, therefore, an object through which asking oneself if it is possible to imagine a pedagogy capable of educating to disobey, recovering the exemplarity of a destituent gesture. This is possible only
by keeping in mind that Pinocchio's "real" teachers are not teachers, but shepherds, puppeteers, other children.
3. Pinocchio is an opportunity to reflect, with the tools of psychoanalysis, on the question of identity, on the definition of man, in relation to what is not human: on the one hand the inorganic, on the other the animal. To becoming what we are through an itinerary of events, encounters,
unexpected hitches that constitute us through what we are not. Moreover, as can be seen in Matteo Garrone's film dedicated to Pinocchio (2019), the composition by editing of Pinocchio's adventures, shows that Collodi owned a rigorous and calculated rejection of any elementary psychologism.
4. Pinocchio as bestiary: cricket, cat, fox, donkey, snail, etc. Rereading Pinocchio today also means assessing the value (included the political one) of animality.
5. In this sense, in the age of the so-called post-truth, it perhaps makes sense to go back to reflecting on the value of lies as Pinocchio proposes it to his readers: as a place of discarding and affirming one's independence, not in opposition therefore with an alleged, irrefutable truth, but as an
occasion for a new truth.

Deadline for submission of abstract: 30th March 2020 (max 2500 words).
Please specify if the abstract is for the “essays” or “readings” section.
Please send abstract to: krevuecontact@gmail.com
Deadline for submission of papers: 5th September 2020.
Proposals may be submitted in English, Italian and French.

Denn ‚Ich’ ist ein anderes. Wenn das Blech als Trompete aufwacht, dann ist nicht ihm das anzurechnen. Ich bin beim Aufblühen meines Denkens zugegen, ich schaue ihm zu, ich höre ihm zu. Ich mache einen Strich mit dem Bogen: schon regt sich die Symphonie in der Tiefe. Es ist falsch zu sagen: ich denke. Es müsste heißen: ich werde gedacht.
Der Dichter kommt an im Unbekannten, und selbst wenn er seine eigenen Visionen schließlich nicht mehr begreift, so hat er sie doch geschaut. Mag er zugrunde gehen an seinem riesigen Sprung durch die ungehörten und unnennbaren Dinge: andere fruchtbare Arbeiter werden kommen und an jenen Horizonten anfangen, wo er selbst zusammengebrochen ist.

Arthur Rimbaud
Lettres du voyant

Der Dichter hat nur dies zu tun, dass er geheimnisvoll arbeitet im Hinblick auf das Niemals.

Stéphane Mallarmé

Unter einer Epiphanie verstand er (Stephan) eine jähe geistige Manifestation, entweder in der Vulgarität von Rede oder Geste oder in einer denkwürdigen Phase des Geistes selbst. Er glaubte, dass es Aufgabe des Schriftstellers sei, diese Epiphanien mit äußerster Sorgfalt aufzuzeichnen, da sie selbst die zerbrechlichsten und flüchtigsten aller Momente seien.

James Joyce,
Stephen der Held

The paper focuses on the sources of and existing links between the Aristotelian rhetoric and monodic music in late Renaissance and first Baroque in Italy. It describes a practice well know as "Recitar cantando", practice which will soon be changed in "Affektenlehre".

Book Description
Human beings are the only creatures known to engage in sport. We are sporting animals, and our favourite pastime of football is the biggest sport spectacle on earth. The Philosophy of Football presents the first sustained, in-depth philosophical investigation of the phenomenon of football.

In explaining the complex nature of football, the book draws on literature in sociology, history, psychology and beyond, offering real-life examples of footballing actions alongside illuminating thought experiments. The book is organized around four main themes considering the character, nature, analysis and aesthetics of football. It discusses football as an extra-ordinary, unnecessary, rule-based, competitive, skill-based physical activity, articulated as a social (as opposed to natural) kind that is fictional in character, and where fairness or fair play – contrary to much sport ethical discussion – is not centre stage. Football, it is argued, is a constructive- destructive contact sport and, in comparison to other sports, is lower scoring and more affected by chance. The latter presents to its spectators a more unpredictable game and a darker, more complex and denser drama to enjoy.

The Philosophy of Football deepens our understanding of the familiar features of the game, offering novel interpretations on what football is, how and why we play it, and what the game offers its followers that makes us so eagerly await match day. This is essential reading for anybody with an interest in the world’s most popular game or in the philosophical or social study of sport.

Table of Contents
Introduction: A Funny Old Game

1. The Character of Football: This is Anfield

2. The Nature of Football: A Game of Two Halves

3. The Analysis of Football: Four Four Two

4. The Aesthetics of Football: Football, Bloody Hell

Conclusion: They Think It’s All Over

Hegel: Ontología, estética y política.
Javier Balladares, Yared Elguera, Fernando Huesca y Zaida Olvera (Coordinadores). ISBN 978-154-71-4790-8

A dos siglos de su formulación, el pensamiento filosófico de Hegel sigue siendo un referente en la reflexión filosófica contemporánea. Hegel nos sigue interpelando hoy en día. Prueba de ello es la existencia de una recepción dinámica que no se agota en la lectura unívoca. Lo que encontramos es una pluralidad de lecturas, que no es sino la muestra de la potencia de este pensamiento, que se hace sentir en el mundo actual. En este volumen se reúnen lecturas contemporáneas sobre el pensamiento de Hegel que proponen una reapropiación del pensamiento hegeliano, en un horizonte crítico y global.

Contenidos:

I. Posiciones en torno a ontología y metafísica

1. De Descartes a Hegel (y vuelta): Sobre el origen y actualidad teórica del idealismo absoluto
Héctor Ferreiro
2. La realidad efectiva en Hegel
Sergio Pérez Cortés
3. El Escepticismo de Hegel
Luis Guzmán
4. Hegel: Prolegómenos para una consideración de su filosofía de la naturaleza
Jorge Armando Reyes Escobar
5. El fundamento determinado
Javier Balladares Gómez
6. El sistema como epistemología o metafísica
Alejandro Cavallazzi Sánchez
7. La noción de objeto en Hegel
Gustavo Macedo Rodríguez

II. Estética

8. El cuerpo que ríe y la comedia en lo ético
Niklas Hebing
9. El domingo de la vida y los días de semana
Marco Aurélio Werle

III. Filosofía política y del espíritu

10. La familia en la Filosofía del Derecho de Hegel
Gabriel Amengual Coll
11. Antígona, la acción humana como el motor de la eticidad
Yared Elguera Fernández
12. Memoria ¿depositaria o hacedora de historia?
Zaida Olvera Granados
13. La filosofía de la historia de Roma de Hegel
Fernando Huesca Ramón
14. Positividad de la ley, violencia de la legalidad
Ana María Miranda Mora
15. El derecho de la libertad en su despliegue ético racional
Thaís Indira Vega

The paper aims to address the commonplace, still widely popular nowadays, which puts Eastern and Western religious art in a ratio of irreducible opposition, the first seen as "revealing", the second as a mere "biblia pauperum". Considering the multi-functionality of sacred art, the paper aims to clear up any attempt to simplification and reductionism that can be read in a series of current publications. On the one hand, the historical analysis is aimed at argue against the idea that Western sacred art has been only didactic and illustrative. On the other, the theological analysis discusses the claim that only adherence to a precise formal canon allows the image to be revelatory, that is, an effective "transitus" to the model represented.

Опубликовано в сборнике: Аксиология массовой культуры Материалы XXI международной конференции "Ребенок в современном мире. Детство и массовая культура". ЮНЕСКО, Российский государственный педагогический университет им. А.И. Герцена, Северо-Западное отделение Российской академии образования. 2014. С. 359-361.

In answering the main question “what is/ought to be a good architect?”, I’d like to discuss the Wittgenstein’s thesis by which “the work of art is the object seen sub specie aeternitatis; and the good life is the world seen sub specie aeternitatis. This is the connexion between art and ethics”. (Ludwig Wittgenstein, Notebooks, 7.10.16).
The analysis will be led along two directions: in the domain of ethics and in the aesthetic one.
First I’ll try to clarify the meaning of the Wittgenstein’s statement with reference to Spinoza’s Ethics, via the interpretation of the contemporary Italian philosopher Carlo Sini.
Is Wittgenstein sharing, in these notes, the Spinoza’s abyssal thought? Wittgenstein’s idea of eternity seems very close to Spinoza’s definition: as essence of the substance, eternity is unexplainable by means of the concepts of duration or time. Eternity is rather the logical space of the necessity that gives itself in the figure of contingency of the event: so every action, as every project and art decision, is undecidable, always kept in the original oscillating and mirroring margin between the freedom of possible and the chains of necessity.
Furthermore, the Spinoza’s overcoming of the alterity between body and mind, implies and strengthens the relationship between Ethics and Aesthetics.
So in second place, I propose to investigate the aesthetic domain through the Merleau Ponty’s approach, whose perspective goes back to the root of aesthetics as phenomenology of perception (aisthesis), with the aim of finding the connection among art, body and behaviour. According Merleau Ponty the things of the world, including the works of art (and architecture), aren’t simply neutral objects standing in front of us to our contemplation: each of them have, on the contrary, an emotional significance and symbolizes and recalls a behaviour of our body. We don’t have a relationship of contemplative distance to the things: each speaks to our body and to our life”.
Hence, in this horizon, we must consider the architectural practice as inscribed in a double gesture: the design action that traces, cuts, incises, decides and our experience of architecture as rebound of our gesture. A double gesture that establishes a double threshold involving a double ethical dimension.
So, going back to the initial question, I think that, if we want to answer in a meaningful and philosophical way, first we need to answer the question “which can be the contribution of philosophy to the architect task?”. I think its contribution coincides with the very aim of the philosophical practice itself: it’s an ethical deep task, it’s the exemplarity of the exercise of inhabiting the limit and the threshold of the project, as place of the “mutuomorphomutation” (Joyce) of necessity and freedom, of history and life.
In each instant stays the eternity, in each event the free game of necessity that gives itself in a figure of the contingency, in every project the emergence of a destiny in, as it were, a "body to body" with the world.
A good architect is an architect sub specie aeternitatis"

Full italian text in Noema, online journal of philosophy:
http://riviste.unimi.it/index.php/noema/article/download/2479/2703

Luis is a famous youtuber from Bologna and one of his most notorious video is "mappo Bologna coi passi", in which he produces a map of the city helped only by the use of a pencil, a set square and some sheets. Thus, this video represents an opportunity to philosophically reflect upon the relationship between mind-body-technology-environment and upon the nature of aesthetic. The analysis of this video and of Luis' productions on YouTube will open to the contemporary philosophical debates concerning aesthetic and cognitive sciences.

Parole chiave: Esplorazione-Estensione-Sapere-come-Esperienza-con-Identità estesa.

INTRODUZIONE Questo paper si propone di analizzare da un punto di vista estetico e cognitivo il video "mappo Bologna coi passi" 1 del noto youtuber bolognese Luis Sal e in generale il suo lo stile estetico come videomaker e youtuber. Essendo tale video un prodotto estetico peculiare, frutto di un'attività di esplorazione di uno scenario cittadino, questa analisi sarà occasione per riflettere più ampliamente sul dibattito filosofico contemporaneo riguardante l'estetica e le scienze cognitive. In particolare, la tesi centrale sostenuta è che il video di Luis sia un esempio perfetto del paradigma enactive mind e del relativo paradigma estetico dell'esperienza-con. L'analisi della produzione del video sarà dunque situata su più livelli: nel paragrafo 1) sarà esplicitato il paradigma cognitivo di riferimento, analizzando le prospettive teoriche della mente incarnata (embodied), estesa (extended) ed enattiva (enactive). Nel paragrafo 2) sarà sviluppato e analizzato il paradigma estetico dell'esperienza-di, in opposizione al paradigma dell'esperienza-con, di cui il video "mappo Bologna coi passi" risulta essere un esempio perfetto. Infine, nel paragrafo 3) sarà analizzato il montaggio video e la particolare ibridazione identitaria che Luis vive con i dispositivi tecnologici e mediali, realizzando una vera e propria identità estesa. Questo video offre un esempio filosofico perfetto di superamento dei dualismi tradizionali di mente/corpo, mente/mondo, soggetto/oggetto, ma anche quelli di natura/cultura e naturale/artificiale, risultando dunque degno di analisi filosofica.

1 Introduction: Cosmopolitical Aesthetics
MODESTA DI PAOLA

2 Cosmopolitanism and global contemporary art
ANNA MARIA GUASCH

3 Affect: Belonging
ALPESH KANTILAL PATEL

4 The Three Janez Janšas.
EMMA BRASÓ

5 The Global, the Post-Abyssal and the Cosmopolitical: Casting a Creative Post-Underdeveloped, Post-Peripheral, Tropical Eye
RENATE DOHMEN 

6 “(In)hospitable art. Artistic Narratives in Cosmopolitical Aesthetics
MODESTA DI PAOLA

7 Placing life at the centre: towards a more-than-human cosmopolitics
CHRISTIAN ALONSO

Lecturers’ Biographies

In this article, I first address the ethical considerations about football and show that a merito-cratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to aesthetics. Instead, I argue that we should try and develop an agon aesthetics where our aesthetic appreciation is understood as involving and being embedded in our engagement in the game. The drama of football is staged but not scripted. The aesthetics of competitions like football matches-the agon aesthetics-lies in engaging in the conflict that a competition is, while being aware that the conflict is not over ordinary world or everyday life issues, but unnecessary and invented for the very purpose of having a conflict to enjoy.

The essay highlights the deformation of the television device, made by Ciprì and Maresco. Cinico Tv criticizes the media apparatus, read by the two directors as a danger for the human authenticity. Thus the character's visceral life gives shape to Cinico Tv, and not the devices. The device of CinicoTv works in the middle of its components: shapes that become subjects, themes that become shapes, bodies that are sounds and words, sounds that are characters and matters.

El presente trabajo aspira a ser una contribución a la filosofía de la crítica. En él se discute el  “programa descriptivista" de Jean-Marie Schaeffer y el "programa evaluacionista” de Noël Carroll. Su propósito es integrar estas dos teorías acerca de la crítica de arte, que no ve como antagónicas, sino como complementarias entre sí. Para ello  distingue tres tipos de juicios relativos al arte: los juicios estéticos, los juicios teleológicos y los juicios normativos de la crítica. Estos últimos involucrarían tres operaciones que son interdependientes: la apreciación subjetiva, la descripción objetual y la evaluación razonada, conjugando así aspectos descriptivos y evaluativos.

Este artículo se propone reflexionar sobre las principales características que definen al cine militante argentino contemporáneo. Con este fin, se nutre de bibliografía especializada de autores que han abordado principalmente el videoactivismo surgido en  los años noventa del siglo pasado en adelante, así como sus vínculos con el cine militante revolucionario de las décadas del sesenta y setenta. Más allá de las diferentes coyunturas, sostenemos que el cine militante es aquel que amplía el horizonte de posibilidades de lo visible y decible socialmente en una época determinada, a través de un objetivo contrainformativo, que pone en evidencia aquello que los medios masivos de comunicación hegemónicos se encargan de ocultar sistemáticamente. Abordamos también las posibilidades de una estética realista en torno a este tipo de producciones, y nos referimos a las tensiones que existen entre las preocupaciones formales y políticas en el marco del cine militante actual. Señalamos, finalmente, que la representación de los sectores populares subalternos, a los que este tipo de cine pretende alcanzar como público objetivo, implica una perspectiva que repone las complejidades éticas y estético/políticas de dar cuenta del otro.

Il 27 dicembre 1818 Maria Luisa di Borbone, regina d’Etruria e duchessa di Lucca, firmava il primo Ordine Reale nel quale era nominato Pietro Paoli di Lucca il Direttore di tutti i lavori di abbellimento alla pubblica passeggiata della Muraglia ed altri simil natura. Era il primo importante provvedimento attuato per la città di Lucca e finalizzato ad istituire la Direzione dei Pubblici Abbellimenti che interessava sia il centro storico che le sue mura. Dieci anni più tardi, nell’aprile del 1828, il figlio Carlo Lodovico aboliva la Direzione nata nel 1818 a favore della istituzione della Regia Deputazione degli Edili che aveva funzioni di vigilanza e di direzione generale dei lavori eseguiti sulle principali fabbriche e sul passeggio delle mura.
A distanza di duecento anni (1818-2018) da questo primo importante conferimento istituzionale finalizzato all’abbellimento della città il volume ha inteso analizzare la documentazione conservata presso l’Archivio Storico Comunale della città di Lucca al fine di renderla disponibile a quanti si occupano della conservazione e della valorizzazione del patrimonio urbano. Un esempio quello di Lucca per tornare a riflettere sul valore dell’estetica della città e sui concetti della “bellezza” all’interno di un ambiente la cui multiculturalità negli ultimi anni ha rinnovato canoni e paradigmi di riferimento.

O presente trabalho investiga duas temáticas da obra de Adorno estreitamente inter-relacionadas. A primeira diz respeito ao processo de despersonalização em sua relação com a noção de indivíduo. A segunda concerne ao conceito de mímesis. Nesta última, explora-se a ambivalência constitutiva deste conceito, de acordo com a qual o momento mimético de reconciliação com o objeto conjuga-se com o momento mimético de dissolução da identidade do sujeito, ou de sua despersonalização. A compreensão desta ambivalência possui o mérito de iluminar de forma significativa a imagem que Adorno compõe da fisionomia espiritual de Walter Benjamin, apresentada na parte inicial do trabalho.

Abstract: This study investigates two themes of Adorno’s work closely interrelated. The first concerns the depersonalization process in its relationship to the notion of individual. The second concerns the concept of mimesis. Here we investigate the constitutive ambivalence of this concept, according to which the mimetic moment of reconciliation with the object is combined with the mimetic moment of dissolution of the identity of the subject - or his depersonalization. The understanding of this ambivalence has the merit of clarifying significantly the image that Adorno makes up of Walter Benjamin’spiritual physiognomy, presented in the first part of the study.

O presente artigo trata de questões referentes à linguagem harmônica da obra de Claudio Monteverdi, seus
procedimentos harmônicos e decorrentes movimentações melódicas, sua utilização como recurso dramatúrgico e
suas possíveis significações alegóricas, tomando por base diversas teorias de modos nos séculos XVI e XVII. Num
primeiro momento, aborda a questão das diversas nomenclaturas e significados dos modos e suas possíveis referências alegóricas de acordo com autores diversos. Num segundo momento, apresenta a análise de dois trechos de suas
óperas, que tratam da representação da morte de Eurídice e Clorinda (Orfeo & Il combattimento de Tancredi e Clorinda,respectivamente), relacionando os procedimentos harmônicos às duas situações dramatúrgicas.

Abstract: The Representation of Feminine Death in L’Orfeo and Il Combattimento di Tancredi et Clorinda by Claudio Monteverdi
Abstract: This paper refers to issues related to the harmonic language of Claudio Monteverdi, its harmonic procedures and resulting melodic movements, its use as a dramaturgical resource and its potential allegorical meanings,
based on theories and classifications of modes of the sixteenth and seventeenth centuries. At first, it approaches the
matter of the multiple names and meanings of the modes and their potential allegorical references according to different authors. Secondly, it presents the analysis of two examples from his operas that deal with the representation of
the death of Euridice and Clorinda (Orfeo & Il combattimento de Tancredi e Clorinda, respectively), correlating their
harmonic procedures to the corresponding dramaturgical situations.

URL: https://repozitorij.uni-lj.si/IzpisGradiva.php?id=131210&lang=slv

V magistrskem delu preučujemo dismorfno telesno motnjo in njene vidike na različnih znanstvenih področjih, ki so fenomenologija, estetika, okoljska etika, estetska kirurgija, psihologija in psihiatrija. Dismorfna telesna motnja je motnja, ki je v Diagnostičnem in statističnem priročniku za duševne motnje uvrščena v skupino obsesivno-kompulzivnih in podobnih motenj. Gre za duševno motnjo pri kateri se posameznik neprestano osredotoča na eno ali več zaznanih pomanjkljivosti na svojem telesu, ki jih drugi sploh ne opazijo ali pa jih imajo zgolj za zanemarljive. Poleg študije dosedanjih spoznanj navajamo lastne filozofske ideje, ki lahko razširijo okvir obravnave te duševne motnje in splošno razumevanje človeka z duševno motnjo. Hkrati ponujamo tudi nekatere protiargumente, ki nasprotujejo našim idejam. Fenomenološko primerjamo dismorfno telesno motnjo in podnebno tesnobo ter ju z določenega metafizičnega vidika istovetimo, saj pomenijo posameznikoma, ki imata ti motnji, glavno skrb njune telesne pomanjkljivosti na fizičnem in »okoljskem telesu«. To idejo natančneje analiziramo in pokažemo na sodobne etične probleme, ki se tega dotikajo. Predlagamo tudi (filozofski) aktivizem kot eno izmed možnih rešitev nekaterih etičnih vprašanj. V magistrskem delu postavimo hipotezo, ki se tiče širše problematike, in sicer kako močno je danes potrebno sodelovanje med filozofi, psihiatri in psihologi, kar lahko med drugim pripomore k razumevanju človeka in duševnih motenj ter razširi okvir psihološke, psihiatrične in filozofske obravnave človeškega bitja. V magistrski nalogi to hipotezo potrdimo. S tem ne kritiziramo spoznanj psihologije in psihiatrije, temveč poudarimo zgolj, da je človek na fenomenološki in metafizični ravni več kot le bitje, postavljeno znotraj okvirjev znanstvenega naturalizma. Osrednja misel v magistrskem delu je tudi, da je potrebno večje upoštevanje filozofsko kritične refleksije, saj lahko to pripomore k večji preudarnosti in samorefleksiji drugih znanosti, kar vodi k splošni blaginji posameznika z duševno motnjo in človeka nasploh.

Body Dysmorphic Disorder in Phenomenology, Aesthetics, and Psychiatry - Master's Thesis

In this master's thesis, we study body dysmorphic disorder and its aspects in various scientific fields, for example, in the fields of phenomenology, aesthetics, environmental ethics, aesthetic surgery, psychology, and psychiatry. In the Diagnostic and Statistical Manual of Mental Disorders, body dysmorphic disorder is classified among obsessive-compulsive and related disorders. It is a mental illness where the afflicted person is preoccupied with one or more perceived defects or flaws in physical appearance that are not observable or appear slight to others. Acknowledging the findings so far, we propose our philosophical ideas, which could expand the discourse about body dysmorphic disorder and the general understanding of a human being with a mental disorder. At the same time we present some philosophical counter-arguments that contradict our ideas. We phenomenologically compare body dysmorphic disorder with climate anxiety and equate them from a certain metaphysical point of view, as the bodily flaws on the physical and “environmental body” are the main concern for individuals with these disorders. We analyse this idea in more detail and point to contemporary ethical problems concerning it. The (philosophical) activism – as one of the possible solutions to some ethical issues – is also proposed. In the thesis, we set out a hypothesis concerning a broader issue, namely the extent to which cooperation between philosophers, psychologists, and psychiatrists is needed today, which can, among other things, help us understand man and mental disorders as well as expand the framework of psychological, psychiatric, and philosophical discussion about human beings. The proposed hypothesis is confirmed. We do not criticize the findings of psychological and psychiatric science, but merely emphasize that man on a phenomenological and metaphysical level is more than just a being placed within the framework of scientific naturalism. Another central idea in the thesis is that greater consideration should be given to critical philosophical reflection, as this could contribute to greater prudence and self-reflection in other sciences, leading to the well-being of the afflicted individual and man in general.

Gespräche über: Harmonie und Nemesis Natur, Geschichte und Humanität in Herders Adrastea (1801-1803) Koordinatoren: Dr. Laura Follesa (Friedrich-Schiller-Universität Jena) Prof. Dr. Michael Maurer (Friedrich-Schiller-Universität Jena) Prof.ssa Francesca M. Crasta (Università degli Studi di Cagliari)

Le manuel d'Artémidore de Daldis - Onirocriticon (La clé des songes), écrit à la fin du IIe siècle, est riche de détails concernant l'image mentale, son statut et son potentiel polysémique. L'auteur enquête pour savoir si l'image peut avoir plusieurs significations ou une seule, puis comment sa signification change en fonction des circonstances et enfin comment les différentes images peuvent avoir la même signification. L'auteur évoque ensuite les critères iconographiques, critères qui aident à mieux comprendre les relations entre les attributs et les dieux. Artémidore met en relation des symboles simples avec des thèmes plus complexes; ce même type d'associations n'est pas sans évoquer ce que nous rencontrons dans l'iconographie plastique. Cette démarche n'avait, jusqu'alors, jamais été entreprise. Les explications des images mythologiques que donne l'onirocrite ont déjà permis de comprendre mieux leur utilisation dans l'art funéraire et ont révélé leur mode de fonctionnement imaginaire (see M.T. Olszewski, Artémidore, mythologie et symbolique funéraire, Archeologia (Warsaw) 52, 2001, pp. 39-60).

Poiché i compiti che in epoche di trapasso storico vengono posti all'apparato percettivo umano non possono essere assolti per vie meramente ottiche, cioè contemplative, se ne viene a capo a poco a poco grazie all'intervento della ricezione tattic4 all,abitudine. Anche colui che è distratto può abituarsi... La ricezione nella di-strazione, che si fa sentire in modo sempre più insistente in tutti i settori dell'arte e che costituisce il sintomo di profonde modifica-zioni dell'appercezione, trova nel cinema lo strumento più auteri-tico su cui esercitarsi. Grazie al suo effetto di shock, il cinema fa-vorisce questa forma di ricezione. W. Benjamin, L'opera d'arte nell'epoca della sua riproducibilità tecnica, pp 45-46. Lo spettatore televisivo ha spesso la sensazione di fruire di un mezzo hoppo semplice e in fondo senza storia, benché molto potente. In queste pagine òér-cheremo alcuni riferimenti per ragionare sulla televisionè dat punto ai vista della sua genesi e su alcuni aspetti della complessa stratific azione che si na-sconde sotto l'apparente semplicità. Il fenomeno che prenderemo in esame in varie sfaccettature è il melodram-ma; a prima vista potrebbe sembrare un argomento estrinseco al nostro tema, dal momento che "le pose stentoree e i tenori sudaticci"l non sembrano avere molto a che vedere con il realismo delle soap opera, o con la drammaticità in-calzante d9l gelere poliziesco. cercheremo tuttavia di dimostrare che i pro-grammi televisivi, benché obiettivamente diversi da quello che definirei còme il loro modello arcaico, ne costituiscono un ripensamento, in cui gli elementi originari traspaiono in forma assai chiara. l. Dal raccoglimento alla percezione nella distrazione Il punto di partenza del nostro discorso può essere costituito dalla contro-versia tra i fautori del dramma e del melodramma, nata nel 1700. Secondo steiner "Racine metteva in scena l'azione più scatenata"2, ma con un teatro di parola che già lo spettatore del l9o secolo non era più disposto ad ascoltare,

O Desenho é a minha área de investigação e nela tenho estudado principalmente os aspectos cognitivos do acto de desenhar, nas relações entre os mecanismos da atenção visual e a prática do desenho de observação. Quando estava a rever os trabalhos escritos e publicados nos últimos anos apercebi-me que a maioria da minha investigação se focou em desenhadores e seus processos visuais, mentais e gestuais. Tornou-se assim óbvio colocar o nome “O Desenhador” a este livro que é um agregador destes estudos.
(…) A sequência agora escolhida não tem nenhum alinhamento específico; os textos podem ser lidos individualmente. A publicação pretende apenas cruzar desenhadores nacionais e estrangeiros, de tradição histórica como Villard de Honnecourt, Francisco de Holanda ou Canaletto com desenhadores contemporâneos como Hockney, Siza, Pomar ou Cutileiro. Entre biologia e cultura ou física e filosofia, aqui e ali surgem reflexões globais sobre pensamento e representação visual, circuitos neurofisiológicos e processos mentais, temas da paisagem e do nu, apontamentos sobre riscadores e suportes, análises de parâmetros, problematização da perspectiva e da janela, as novidades dos média digital, os desvios da criatividade da mão, as intencionalidades do Belo, a simplicidade da expressão gráfica e a temporalidade da consciência visual. (…)

- Prefácio: Ana Leonor Madeira Rodrigues
- Posfácio: Eduardo Salavisa

Relire l'œuvre d'Aby Warburg à la lumière de ses Fragments sur l'expression pourrait sembler téméraire, tant ce texte labyrinthique paraît à première vue obscur, sibyllin. En s'appuyant sur leurs points saillants, sans prétendre à l'exhaustivité, l'auteure entend montrer que les Fragments contiennent in nuce la structure du projet warburgien dans son ensemble.
Derrière l'invention de l'iconologie (et en amont de sa mise en pratique), une quête anthropologique se dessine : appréhender l'humain comme un être essentiellement symbolique et puiser aux racines de la vie biologique et sociale la « montée de sève » qui commande la création artistique.
En mettant l'accent sur le caractère expressif du sujet, Warburg reconduit la détermination de l'être rationnel à son sous-bassement originaire : au mouvement par lequel il s'arrache à la matière pour se donner un espace de pensée (Denkraum). À rebours des interprétations qui font de Warburg un chantre de l'irrationnel et du pathos, l'auteure montre que l'historien de l'art demeure héritier des Lumières et que l'on peut lire son œuvre à l'aune d'une ambition : celle de comprendre la lutte de l'être humain pour s'orienter dans le cosmos et en soi-même.

O propósito desta investigação é lançar luz sobre um aspecto ainda obscuro da personalidade do filósofo e crítico musical Theodor Adorno. O objetivo central é realizar uma análise retrospectiva sucinta da rejeição categórica de Adorno ao jazz. Levando-se em conta o modo rançoso e mordaz da sua crítica, à qual permaneceu irredutível, deixemos os aspectos industrial e mercadológico da questão por um instante de lado para indagar pelos verdadeiros motivos que podem estar por trás da sua argumentação supostamente objetiva. Serão analisados os ensaios de Adorno, publicados em 1933, 1937 e 1953, respectivamente, e que sustentam a sua crítica, à qual, a rigor, pertence também a controvérsia que o terceiro e último ensaio de Adorno gerou por parte do crítico e produtor musical alemão Joachim-Ernst Berendt, cuja réplica abre a seção intitulada Kritik da revista Merkur de setembro de 1953, seguida pela tréplica de Adorno.

Art works and cultural products are circulating all over the globe at an increasing rate, helping to form young people’s ever-more internationalised tastes and repertoires. Hence the TV series Game of Thrones, which broke all audience records, the 2010 South African football anthem Waka Waqua as interpreted by US-chart-smashing Colombian singer Shakira, and even the Japanese manga character Naruto have become shared cultural references amongst young French people today, alongside national icons such as Astérix and David Guetta. Manga, comics, Asian films, Hollywood blockbusters, Bollywood cinema, South Korean and Scandinavian TV series and music from all corners of the globe all function as windows on the world, helping make the foreign familiar. Whether in the areas of pop music, video games, television series, literature or cinema, the globalisation of the cultural industries and the increasing circulation of art works and cultural products, assisted by digital technology, are therefore major factors in the internationalisation of young people’s consumer and imaginative
cultural repertoires.
How do young people build their relationship with the world via globalised cultural goods? Five configurations of aesthetico-cultural cosmopolitanism have been identified on the basis of the degree of internationalization of consumption and tastes, linguistic choices (French or foreign language), as well as global imaginaries and related values. These range from inadvertent cosmopolitanism related to the consumption of mainstream cultural products, to more engaged forms of openness (cosmopolitan fans and specific cosmopolitans), and to national cultural fans as well as impossible cosmopolitans. Young people’s cultural consumption brings them resources and competencies and helps them forge varied relationships to the globalized world in which cosmopolitanism is becoming a highly inclusive generational standart of “good taste”.

In this article, we discuss the problem of art as presented the large scale international events, with an example of Venice Biennale 2017, as well as the global tendencies which enslave the ontological meaning of art and recontextualise it in an institutional direction, so that the world of global spectacle is being promoted. We are also going to address several cases which stand in opposition to this trend, and, throughout the article, try and explain the principles of such resistance, as well as discuss the instances where art is being misused, with an aim of reducing the idea of artistic expression to fashion trends, entertainment and triviality.

Sažetak
Radom se želi razumjeti velika popularnost flma Joker redatelja Todda Phillipsa iz 2019.  godine. Film i figura Jokera interpretirana je u okviru filozofije, odnosno estetike i politike resantimana. Rad nudi zaključak da film i figura Jokera ponavljaju osjećaj nejednakosti, kao jedno rašireno osjećanje u svijetu, između njegove estetizacije i politizacije.

Ključne riječi
Joker, bol, resantiman, estetizacija, politizacija

Zusammenfassung
Mit der Arbeit will man die große Popularität des Films Joker von Todd Phillips aus dem Jahr 2019 verstehen. Der Film und die Figur Joker wird im Rahmen der Philosophie, bzw. Ästhetik und Politik des Ressentiments interpretiert. Die Arbeit bietet den Schluss, dass der Film und die Figur Jokers das Gefühl der Ungleichheit als ein in der Welt verbreitetes Gefühl zwischen seiner Ästhetisierung und Politisierung wiederholen.

Schlüsselwörter
Joker, Schmerz, Ressentiment, Ästhetisierung, Politisierung

Este tema de investigación expone la importancia de conocer y estudiar el cuerpo de manera integrada, a partir de una necesitad  generada por la búsqueda de independencia de la danza como disciplina artística. Desde la perspectiva de Susana Tambutti, este fue un proceso que surgió alrededor de la segunda mitad de siglo XVII  y que,  hasta 1962 supuso,  a grandes rasgos, 4 momentos de afirmación y cambio del carácter ontológico y autónomo de la danza. Al preguntarnos: ¿Cuál es la importancia de articular la integridad corporal en danza la propuesta escénica? Nos coloca en una nueva apertura ontológica y autónoma de la danza en  tiempos contemporáneos  y pensamientos posmodernos.

Der französische Philosoph Jacques Rancière nähert sich dem Literaturbegriff über sein Politik-Konzept. Er argumentiert: „Politik ist zuerst eine Intervention in das Sichtbare und das Sagbare“ (Rancière 2008a: 32) und definiert sie damit als Erkenntnistheoretisches Modell, das als solches auch auf Literatur anwendbar ist. Eine solche Anwendbarkeit ist zu belegen. Dazu versucht diese Arbeit zeigen, dass die Beantwortung der Fragen „Ist das Politik?“ und „Ist das Literatur?“ miteinander verzahnt sind, weil sie jeweils die Wahrnehmungsweise betreffen.

Kleists Drama Die Hermannsschlacht behandelt als literarisches Werk einen offensichtlich politischen Inhalt, nämlich die kriegerische Zurückdrängung der römischen Truppen hinter den Rhein durch die Germanen unter Führung Hermanns bzw. Arminius. Nicht nur deshalb eignet sich die Hermannsschlacht in besonderer Weise für die Anwendung des vorgeschlagenen Politik-Konzepts – es lässt sich erstens mit Bezug auf ihren Inhalt belegen. Darüber hinaus ist, zweitens, an dem Drama selbst, an seiner spezifischen Produktions- und Rezeptionsgeschichte Rancières eigene Anwendung seines Politik-Konzepts auf Literatur und ein bestimmtes literarisches Werk überprüfbar.

The cultures of protest are diverse and multi-layered. They arise from the interaction of underlying social, political, and cultural factors. While the political and social dimensions of protest movements have received consistent attention from academia, the aesthetic dimension of protest is as yet largely unexplored. Therefore, the proposed special issue seeks to explore the visual, performative, and conceptual dimensions of protest actions by focusing on their form, content, and effects as well as on their impact as an aesthetic experience. “Experiencing” in this context does not exclusively mean perceiving through the senses. It also means grasping and engaging with an idea, and the way an idea is materialized through cultural expressions like protest songs, banners, dance, and so on.

Abstract submission deadline: August 31, 2021.
Article submission deadline: October 31, 2021.

STMAC aims to advance an inter-disciplinary and inclusive approach to the study of science in the ancient world, ranging from mathematics and physics, medicine and magic to astronomy, astrology, and divination and covering the Mediterranean world, the Near (Middle) East, and Central and East Asia. The series is open to different types of publications including monographs and edited volumes as well as text editions and commentaries. Physiognomy and ekphrasis are two of the most important modes of description in antiquity and represent necessary precursors of scientifi c description. The primary way of divining the characteristics and fate of an individual, whether inborn or acquired, was to observe his external characteristics and behaviour. This volume focuses initially on two types of descriptive literature in Mesopotamia: physiognomic omens and what we might call ekphrastic description. These modalities are traced through ancient India, Ugarit and the Hebrew Bible, before arriving at the physiognomic treatises of the Greek world, where physiognomic discussions become intertwined with ekphrastic descriptions of otherwise non-visible human characteristics or personality traits. In the Graeco-Roman world, literary and visual iconic media often interact, as the representations of famous historical fi gures such as Pericles, Socrates or Augustus clearly show. The Arabic compendial culture absorbed and remade these different physiognomic and ekphrastic traditions, incorporating both Mesopotamian links between physiognomy and medicine and the interest in the ekphrasis of characterological 'types' that had emerged in the Hellenistic period. This volume offers the fi rst wide-ranging picture of these modalities of description in antiquity.

D. Cianci (title): Iconisms and Characteristics of Polybius rethor, Trypho and  Publius Rutilius Lupus rhetor

In the light of recently proposed theoretical model of “audiotactile music” the author discusses the practices of creation in real time of the XVIII and XIX century, in Western art music, by two distinct levels. Firstly, examining the heuristic perspectives and the methodological criteria commonly used in the literature, highlighting critical factors and suggesting possible operational adaptations and conceptual revisions, with a systematization by means of new categorial tools (Improvisation Process A and B). Secondly, investigating on the distinctive phenomenological and structural attributions of such practices, in relation to the similar ones belonging to oral-traditional cultures or to audiotactile contemporary culture. The applicability of the notion of ‘Model’ and of the categorial dichotomy extemporization/improvisation (‘extemporization’, in the systematic sense that it covers in the Audiotactile Theory, here cuts out a semantic field different from ‘improvisation’) is verified and, at the same time, an explicative perspective is suggested on the disappearing of improvisational traditions in Western art music.