Antimetaphysics As Analytical Method in Croce's Conception of History
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Which Liberalism? Franco Sbarberi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Research Information System University of Turin Bobbio and Croce – Which Liberalism? Franco Sbarberi Abstract: Benedetto Croce taught Norberto Bobbio to distinguish between two kinds of commitment, namely an intellectual and a political one. The expression “politica della cultura” effectively translates the idea of the autonomy or independence of scholarly and intellectual research. Another idea which was passed on from Croce to Bobbio is that of liberalism as the theoretical basis of every form of civil government insofar as the liberal conception rejects any notion of “Providence” as a covert agent of history. But Bobbio differed from Croce since he never believed that democracy could essentially contradict the perspective of liberalism, and was convinced that true emancipation is a sort of “conguagliamento delle libertà,” or, in other words, that it implies a strong relation between individual political rights and the demands of social justice. In the Preface to a bibliography of his writings that was published in 1984, Bobbio made reference to a “half-score” of his preferred authors. For the early modern period the selection seemed “almost inevitable” as far as the names of Hobbes, Locke, Kant, and Hegel were concerned. For more contempo- rary authors, on the other hand, he specifically singled out Croce, Cattaneo, Kelsen, Pareto, and Weber since they all represented, at one point or another, a crucial point of reference either for his own political development or for the considerable range of his intellectual interests (which also show him to have been a subtle analyst and systematic interpreter of the classic writers). -
History As Contemporary History in the Thinking of Benedetto Croce
Open Journal of Philosophy, 2015, 5, 54-61 Published Online February 2015 in SciRes. http://www.scirp.org/journal/ojpp http://dx.doi.org/10.4236/ojpp.2015.51007 History as Contemporary History in the Thinking of Benedetto Croce Nicola Conati Department of Humanities, University of Trento, Trento, Italy Email: [email protected] Received 12 January 2015; accepted 30 January 2015; published 3 February 2015 Copyright © 2015 by author and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract In this brief consideration of mine, trying to remain as faithful as possible to the texts taken into exam, I will first try to introduce the concept of history as contemporary history in the thinking of Benedetto Croce, whereas the second part of the reasoning will point toward proving and medi- tating on how such concept crosses the whole philosophical system of the Italian intellectual. What does contemporary history mean according to Benedetto Croce? Why is the spirit of the historian fundamental in the description of this concept? What kind of connection exists between story and contemporary history? What does pathology of history mean? How does the concept of contem- porary history relate to that of awareness, of finished and thinking? These are but a few of the questions to which I tried to find an answer with this essay. Keywords Benedetto Croce, History, Philosophy of History, Historical Knowledge, Contemporary History, Pathology of History, Heidegger, Rosmini, Idealism 1. Introduction I would like to begin my consideration by taking into account “Storia, cronaca e false storie”, a brief 1912 de- liberation originally born as a “memoir” for the Accademia Pontiniana of Naples, which will later merge into the 1917 “Teoria e storia della storiografia” (although the first edition was published in Germany in 1915). -
1 Unit 4 Theory of Aesthetics
1 UNIT 4 THEORY OF AESTHETICS - POSTMODERN Contents 4.0 Objectives 4.1 Immanuel Kant (1724-1804) 4.2 Hegel (1770-1831) 4.3 Aesthetic Thought: A Historical Summary 4.4 Benedetto Croce (1866-1952) 4.5 20th Century Aesthetic Thinkers 4.6 Let Us Sum Up 4.7 Key Words 4.8 Further Readings and References 4.0 OBJECTIVES The main objective of this Unit— is to present the concepts in aesthetic thought that continues to influence till today. The two great thinkers of the 18th century, Kant and Hegel who devoted special treatise and delivered lectures on aesthetic, their works are taken up for discussion. We shall be acquainted with the arguments and reasons of Kant from his Critique of Aesthetic Judgement followed by Hegel’s Lecture on Fine Art. The 18th – 20th centuries saw a great number of thinkers in the west who put forth views on aesthetic which also witnessed the artists voicing out their opinions. It is difficult to deal with all of them and the impact of the movement in this unit so we shall summarise the thought from the ancient to modern as seen by Croce and the movement then taken forward by Croce in his La Aesthetica. We close this unit by enumerating some of 20th century thinkers on aesthetic. Thus by the end of this Unit you should be able: • to have a basic understanding of the contribution of Baumgarten • to understand the thought of Kant and Hegel • to understand the all-comprehensive character of philosophy of art in history • to appreciate the contribution of Croce. -
Representations of Italian Americans in the Early Gilded Age
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 7 1994 From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Russo, John Paul (1994) "From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age," Differentia: Review of Italian Thought: Vol. 6 , Article 7. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/7 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. From ltalophilia to ltalophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo "Never before or since has American writing been so absorbed with the Italian as it is during the Gilded Age," writes Richard Brodhead. 1 The larger part of this American fascination expressed the desire for high culture and gentility, or what Brodhead calls the "aesthetic-touristic" attitude towards Italy; it resulted in a flood of travelogues, guidebooks, antiquarian stud ies, historical novels and poems, peaking at the turn of the centu ry and declining sharply after World War I. America's golden age of travel writing lasted from 1880 to 1914, and for many Americans the richest treasure of all was Italy. This essay, however, focuses upon Brodhead's other catego ry, the Italian immigrant as "alien-intruder": travel writing's gold en age corresponded exactly with the period of greatest Italian immigration to the United States. -
“Aesthetic in Alhazen's Kitāb Al-Manāẓir”
International Journal of Arts 2014, 4(1): 1-7 DOI: 10.5923/j.arts.20140401.01 “Aesthetic in Alhazen’s Kitāb al-manāẓir” Hasan Bolkhari Ghehi Associate Professor of University of Tehran Abstract Abū ʿAlī al-Hasan ibn al-Haytham, also known in the West as Alhazen1 is one of the greatest researchers of Optic concept in all the centuries, according to George Sarton (Sarton, 1967:704). His greatest work, Kitāb al-manāẓir‖ (Treasury of Optics), had a major influence not only on 13th-century thinkers such as Roger Bacon but also on later scientists such as the astronomer Johannes Kepler (Britannica encyclopedia. Ibn al-Haytham). Furthermore, the definition of beauty which had come into spotlight in Greek philosophy by attempts of Plato (Such as Hippias Major & Phaedrus) was well and deeply reexamined in explorations of Alhazen in optic under his inductive and experimental method. His researches had a great influence on the attitudes of the Westerners toward beauty in late middle ages and renaissance. This paper has taken into consideration the comprehensive definition that Alhazen has given on beauty in his book ―Kitāb al-manāẓir”. His definition promised the foundation of a kind of Islamic aesthetics, but no thinker in Islamic civilization followed his way except Kamal al Din Farsi2 in ―Kitab Tanqih al-Manazir” (The Revision of Ibn al-Haytham's Optics), while the Western thinkers followed his way through translating ―Al-manāẓir‖ in 1272. In his studies, Umberto Eco has adequately explained such definition and although he attributes the researches to Witelo3 (not Alhazen) nowadays it has become clear that the main body of Witelo’s ―Perspectivae‖ was famous book of Alhazen. -
Intellectuals and Politics in the Twentieth Century Michael Kenny Department of Politics, University of Sheffield, S10 2TU, UK E-Mail: [email protected]
Contemporary Political Theory, 2004, 3, (89–103) r 2004 Palgrave Macmillan Ltd 1470-8914/04 $25.00 www.palgrave-journals.com/cpt Review Essay Reckless Minds or Democracy’s Helpers? Intellectuals and Politics in the Twentieth Century Michael Kenny Department of Politics, University of Sheffield, S10 2TU, UK E-mail: [email protected] Books Under Review Civility and Subversion: the Intellectual in Democratic Society Jeffrey C. Goldfarb Cambridge University Press, Cambridge, 1998, 263pp. ISBN: 0521627230. The Reckless Mind: Intellectuals in Politics Mark Lilla New York Review of Books, New York, 2001, 216pp. ISBN: 1590170717. The End of Utopia: Politics and Culture in an Age of Apathy Russell Jacoby Basic Books, New York, 1999, 252pp. ISBN: 0465020011. The Role of Intellectuals in Twentieth-Century Europe Jeremy Jennings (ed.) Special Issue of The European Legacy, 5(6), 2000. Contemporary Political Theory (2004) 3, 89–103. doi:10.1057/palgrave.cpt.9300133 Is liberal democracy a breeding ground for an independent and critically minded intelligentsia? Do public intellectuals require a cultural authority that has disappeared in Western societies? Does the counter-attack upon Enlight- enment values spell the end of the intellectual as modernist ‘legislator’ (Bauman, 1987)? And, has the (purported) decline of the public culture of various democratic states led to the demise of the political intellectual? These questions are central to the different texts considered in this essay. The answers provided by three of them testify to the continuing influence of two well- established, divergent characterizations of the public intellectual. First, in the minds of thinkers for whom ‘modernity’ signals a watershed in societal development, the rise and fall of the public intellectual represents a distinctive, and indicative, phenomenon of the last three centuries. -
Inventive Translation, Portraiture, and Spanish Hapsburg Taste in the Sixteenth Century
9 © Copyrighted Material Inventive Translation, Portraiture and Spanish Habsburg Taste in the Sixteenth Century Elena Calvillo The Spanish Patron In his autobiography, Benvenuto Cellini recounts how when faced with an angry mob of Spaniards from the household of the bishop of Salamanca, he defiantly pointed his gun into the crowd and cried, ‘You treacherous Moors – so this is how you loot the shops and houses in a city like Rome?’1 According to the artist, the Spaniards had come to collect a vase that had been returned to Cellini to be repaired, but because the patron had not yet paid for it, Cellini declined to release it. The commotion surrounding this exchange soon attracted the attention of a few Roman gentlemen, eager to join the fight. Their offer to help Cellini kill his opponents was made ‘with such vehemence that the Spaniards were terrified out of their wits’ and retreated.2 The Spanish courtiers were subsequently admonished by the bishop, who, Cellini claimed, was angered by both the violence initiated by the brash members of his household and by their failure to finish the job. Cellini’s characterization of the Spanish throughout this part of his text, leading up to the Sack of 1527, is similar to many portrayals of this period.3 For Cellini, such a depiction of the troublesome Spaniards served the rhetorical ends of the autobiography by highlighting his loyalty to Rome and his personal bravery, most spectacularly demonstrated in his account of the defence of the Castel Sant’Angelo against imperial troops. A few themes emerge from Cellini’s anecdote. -
Journal of Comparative Literature and Aesthetics
ISSN: 0252-8169 JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Vol. XVI Nos. 1-2: 1993 A Special Volume on Italian Aesthetics Since Croce A Vishvanatha Kaviraja Institute Publication Editor: A.C. SUKLA B-8, Sambalpur University, Jyoti Vihar, Orissa India-768019. Fax-0663+430314, Associate Editor: Frank J. Hoffman West Chester University, Pennsylvania Editorial Advisor (Foreign) : Milton H. Snoeyenbos Georgia State University, Atlanta: Georgia. EDITORIAL BOARD Rene Wellek Yale University Peter Lamarque University of Hull Philip Alperson University of Louisville W.I.T. Mitchel University of Chicago Ralph Chohen University of Virginia Denis Dutton University of Canterbury Grazia Marchiano University of Siena Dorothy Figueira University of Illinois Ellen Dissanavake Washington Goran Hermeren University of Lund Ales Erjavec Slovenian Academy of Science & Arts V.K. Chari University Carleton S.K. Saxena University of Delhi Suresh Raval University of Arizona J.N. Mohanty Temple University Salim Kemal University of Dundee All subscriptions / books for review / papers / reviews / notes for publication are to be sent to the Editor Current information about JCLA is available on the Internet web site: http:// www.sas.upenn.edu/~fhoffman/jcla.html JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Volume: XVI: Nos. 1-2: 1993 A VISHVANATHA KAVIRAJA INSTITUTE PUBLICATION The Prsent Volume is Edited By: GRAZIA MARCHIANO CONTENTS 1 About the Authors Grazia Marchiiano 3 Editorial Gianni Vattimo 9 On the Challenge of Art to Philosophy; Aesthetics at the End of Epistemology Stefano Zecchi 17 The Theory of Art in Italian Idealism Aldo Trione 29 The De Sanctis: Croce line and the Problem of Modernity Stefano Benassi 41 Orientations of Phenomenological Aesthetics in Italy: The Encounter with Marxism and Semiotics Luisa Bonesio 51 Italian Philosophical Aesthetics: A New Generation Grazia Marchiano 59 Ananda Kentish Coomaraswamy: A Short Critical Survey About the Authors . -
Portrait of Italian Jewish Life (1800S – 1930S) Edited by Tullia Catalan, Cristiana Facchini Issue N
Portrait of Italian Jewish Life (1800s – 1930s) edited by Tullia Catalan, Cristiana Facchini Issue n. 8, November 2015 QUEST N. 8 - FOCUS QUEST. Issues in Contemporary Jewish History Journal of Fondazione CDEC Editors Michele Sarfatti (Fondazione CDEC, managing editor), Elissa Bemporad (Queens College of the City University of New York), Tullia Catalan (Università di Trieste), Cristiana Facchini (Università Alma Mater, Bologna; Max Weber Kolleg, Erfurt), Marcella Simoni (Università Ca’ Foscari, Venezia), Guri Schwarz (Università di Pisa), Ulrich Wyrwa (Zentrum für Antisemitismusforschung, Berlin). Editorial Assistant Laura Brazzo (Fondazione CDEC) Book Review Editor Dario Miccoli (Università Cà Foscari, Venezia) Editorial Advisory Board Ruth Ben Ghiat (New York University), Paolo Luca Bernardini (Università dell’Insubria), Dominique Bourel (Université de la Sorbonne, Paris), Michael Brenner (Ludwig-Maximilians Universität München), Enzo Campelli (Università La Sapienza di Roma), Francesco Cassata (Università di Genova), David Cesarani z.l. (Royal Holloway College, London), Roberto Della Rocca (DEC, Roma), Lois Dubin (Smith College, Northampton), Jacques Ehrenfreund (Université de Lausanne), Katherine E. Fleming (New York University), Anna Foa (Università La Sapienza di Roma), François Guesnet (University College London), Alessandro Guetta (INALCO, Paris), Stefano Jesurum (Corriere della Sera, Milano), András Kovács (Central European University, Budapest), Fabio Levi (Università degli Studi di Torino), Simon Levis Sullam (Università Ca’ -
Light in a Socio- Cultural Perspective
Light in a Socio- Cultural Perspective Edited by Ruth Lubashevsky and Ronit Milano Light in a Socio-Cultural Perspective Edited by Ruth Lubashevsky and Ronit Milano This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Ruth Lubashevsky, Ronit Milano and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7907-X ISBN (13): 978-1-4438-7907-1 CONTENTS List of Figures............................................................................................ vii Introduction ................................................................................................ ix Part 1: Between Image and Truth Chapter One ................................................................................................. 3 From the Overview Effect to the Data Sublime: Stargazing in the Twenty- First Century Romi Mikulinsky Chapter Two .............................................................................................. 19 Cartesian Illuminations: Transfers of Light between the Physics and Philosophy of Descartes Stephan Gregory Part 2: Exposing Reality Chapter Three ........................................................................................... -
19Chronology of Works in Aesthetics and Philosophy Of
Chronology of 19 Works in Aesthetics and Philosophy of Art Darren Hudson Hick Notes on Selection This chronology, as with this Companion as a whole, focuses on those works that contribute to the Western tradition of aesthetics, and, beginning in the twentieth century, in the analytic current of thought within that tradition (as opposed to the Continental one). As with the history of Western philosophy in general, the study of philosophical problems in art and beauty dates back to the ancient period, and is infl uenced by the major philosophical and cultural move- ments through the centuries. Much of what survives from the ancient to the post-Hellenistic period does so in fragments or references. In cases where only fragments or references exist, and where dating these is especially problematic, the author or attributed author and (where available) his dates of birth and death are listed. Where works have not survived even as fragments, these are not listed. As well, much of what sur- vives up to the medieval period is diffi cult to date, and is at times of disputable attribution. In these cases, whatever information is available is listed. Aesthetics in the period between the ancients and the medievals tends to be dominated by adherence to Platonic, Aristotelian, and other theories rooted in the ancient period, and as such tends to be generally lacking in substantive the- oretical advancements. And while still heavily infl uenced by ancient thinking, works from the medieval period tend also to be heavily infl uenced by religious thinking, and so many issues pertaining to art and aesthetics are intertwined with issues of religion as “theological aesthetics.” Movements in art theory and aes- thetics in the Renaissance, meanwhile, were largely advanced by working artists, and so tend to be couched in observational or pedagogical approaches, rather than strictly theoretical ones. -
The Shaping of European Modernities
The Shaping of European Modernities: Neapolitan Hegelianism and the Renaissance (1848-1862) How deeply rooted in man is the desire to generalize about individuals or national characteristic [Friedrich Schlegel, Critical Fragments] The idea of Europe is a product of modernity. As such, it needs to be understood in relation to discourses about and interpretations of modernity. As Gerard Delanty has commented: ‘The history of modern Europe can be written in terms of a conflict between the ideas of modernity.’1 The main theoretical approach for the analysis of the idea of Europe ought, therefore, to be the general context of modernity. However, from the beginning of the nineteenth century it has made more sense to discuss Europe in terms of multiple models of modernity, to better capture the different interpretations of the European heritage. Delanty has highlighted that the Renaissance was the transitional point to an emerging modernity which has shaped Europe’s cultural identity. This is partially because one of the distinguishing features of modern Europe ‘was the cultivation of a concept of the self that made possible […] a new emphasis on the human being as an individual and an objective of study and reflection’.2 Under the general name of Renaissance, Delanty subsumes different and diverse cultural experiences such as humanism, republicanism, the Protestant Reformation and the encounter with the * This work was supported by the Swiss National Science Foundation under Grant Early Post Doc Mobility. 1 Gerard Delanty, Formations of European Modernity: A Historical and Political Sociology of Europe (Basingstoke: Palgrave MacMillan, 2013), p. 164. 2 Ibid., p.