L’immaginazione in Leopardi e in Joseph Addison

This entry is part 27 of 38 in the series Vol 4-2019

Abstract: After a brief introduction about the problem of leopardian sources, I wish to introduce here a description of the diffusion of Addison’s theories about the Imagination in Italy at the time of Leopardi, trying to highlight their influence on his thinking and his philosophy. The third chapter is dedicated to the analysis of an important excerpt of the Zibaldone where Leopardi quotes Addison and his Catone to introduce an interesting reflection about the pleasure of beauty and the role of imagination, almost as a way to face Addison issues. This excerpt represents an occasion to compare the theories of Addison and Leopardi about Aesthetics and also the similarities and the differences between them. The last part of the paper is dedicated to the results of the analysis and the conclusions.

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I Sillabari di Goffredo Parise: l’origine percettiva del linguaggio

This entry is part 11 of 23 in the series Vol 3-2018

Abstract: The article explores the original style of Sillabari, Goffredo Parise’s short stories. The paper aims at showing the intersections between Parise’s work and philosophy of perception drawing on Merleau-Ponty’s phenomenology and his conception of an aptic, visual and “sentimental” access to reality. I argue that both paths (narrative and philosophical) attempt to revise some cognitive categories of the Cartesian tradition, rediscovering embodied symbolization as a primary way of knowing reality. In the Sillabari, the Italian tradition started by Vico converges with phenomenology. In Parise’s writing, the classical dichotomy between subject and object, inner and outer, body and soul is overcome by focusing on synaesthetic perception and pre-rational experience.

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Wittgenstein’s philosophy of seeing-as: multiple ways to philosophical perspicuity

This entry is part 15 of 33 in the series Vol 2-2017

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.

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