Abstract: The Wheel is a script which embodies a philosophical reflection about the symbolic potentialities of a multisemiotic performance. Plurisemiotism is approached in the form of a tension between bodily movements and a semiotic classification which labels the different kinds of movement performed by the dancers. I argue that this tension produces a pluristable effect in which the selfreflective dimension brings both fields at a threshold and allows to question aesthetic and epistemological borders in performative arts and philosophy. The script contents exploit some aspects of the “free dance” tradition – a ‘feminist’ tradition in which mainly female dancers and choregraphers moved in two opposite directions: towards the origin – re-discovering bodily practices and forms of life later removed from cultural memory, and back to the present and future – performing the crisis of western societies, their values and behaviour patterns and thereby imagining and prefiguring new possibilities.
Abstract: The article proposes an analysis of plurilingualism which combines New Science’s original theory of the three languages contemporary origin and the conception of the first form of political antagonism between “patres”, the first political and religious leader and “famoli”, their servants – tha last one as well an important theoretical achievement in Vico’s thought. The two issues are kept apart in the Scienza nuova reflection and we argue that linking them together allows a deeper understanding of the common origin and functional interaction of the three linguistic forms during all human evolution. We present our argument in four steps: we first focus on political antagonism in the origin of human societies, then explore the role of laugh, irony and derision in Vico’s work and especially in the conflictual context of the “famoli”’s fights against “patres”, in the third part we deal with Vico’s concept of “mostri poetici”, poetic monsters, and with the category of monster as negative stigma which the “patres” directed against the “famoli” within a condition of political antagonism. In the last part we try to use Vico’s concept of monstruosity questioning the notion of selfreflectivity in the Scienza nuova.
Abstract: The article explores the broad issue of aspectuality in Wittgestein’s philosophy arguing that Kippbilder, aspect change, perception of aspect, aspect blindness and Bedeutungserlebnis are related to a meditation on specific forms of subjectivity. Analysing different grammatical configurations of ambiguous images in (visual, acustic, sensomotiric) perception, in language and in art he also shows how aspectual structures combine simultaneous perception of two elements (et-et model, for exemple physiognomy and its expression) and mutually exclusive aspect perception (aut-aut model as in the duck-rabbit Kippbild). Wittgenstein seems to believe that this double model somewhat challenges classical rationality and that aspectual experiences should have a more relevant place in our form of life.
Abstract: This contribute explores the topic of shades and darkness in Vico’s philosophy from different perspectives and argues that this dimension is at the very heart of his genetic thought. The analysis first considers some elements of Vico’s critique of Cartesian philosophy and the French thinker’s idea of reason. Shadows and obscurity are also related on the one side to the Dipintura of the Scienza nuova in which they become visual characters of the image background and on the other side with the use of an essential concept introduced in the description of this image and expressed by the polysemic/enantiosemic word “aspetto”. The last part of the essay suggests that the dark background of the SN could be identified with the “ingens sylva”, the “huge (primordial) wood” a sort of pre-human, pre-rational errantic state, that philosophy is not able really to think although it should at the same time to deal with it to avoid the costant risk to fall back in it. In connection with this point we also raise the following questions: Could we identify this originary state with matriarchal societies? Could we find some matriarchal features in Vico’s patriarchal account of the orgin of human religious political and symbolic world?