Vittoria Sisca - Profile on Academia.edu (original) (raw)

Book Reviews by Vittoria Sisca

Scenari , 2023

The debate around political correctness is currently one of the pre-dominant topics wit... more The debate around political correctness is currently one of the pre-dominant topics within the public discourse. More precisely, given that the conduct to which this term refers to has been a cause of social di-spute since the 1980s, it would be more accurate to say that political correctness is an issue that has been inflaming the minds of the diverse and articulate fabric that is public opinion for about half a century. The aim of this review article is to sketch out a possible key to interpret this phenomenon, presenting the reader with the point of view expressed by the Italian semiologist Anna Maria Lorusso in her last book L’utilità del senso comune (2022).

Recensione a: Maurice Merleau-Ponty, "La prosa del mondo", a cura di P. Della Vigna, Milano-Udine, Mimesis, 2019.

Recensione Maurice Merleau-Ponty, La prosa del mondo a cura di P. Della Vigna, Milano-Udine, Mimesis, 2019, pp. 186

Recensione a: Federica Buongiorno, Vincenzo Costa, Roberta Lanfredini (a cura di), "La fenomenologia in Italia. Autori, scuole, tradizioni", Inscibboleth, 2018

Recensione a: François Jullien, "Vivere di paesaggio o l’impensato della ragione", tr. it. di C. Tartarini, a cura di F. Marsciani, Milano-Udine, Mimesis, 2017

Recensione a: Igor Pelgreffi, "Filosofia dell’automatismo. Verso un’etica della corporeità", Orthotes, Napoli-Salerno, 2018

Recensione a: Günter Figal, "Il manifestarsi dell’arte. Estetica come fenomenologia", Milano-Udine, Mimesis, 2015

Call for Papers by Vittoria Sisca

Papers by Vittoria Sisca

Introduction to Aesthetics and Affectivity, n. 60 (1/2021) of The Polish Journal of Aesthetics

Emotions, feelings, and, generally, the whole sphere of affectivity make up one of the most funda... more Emotions, feelings, and, generally, the whole sphere of affectivity make up one of the most fundamental elements of human life, and also play an essential (although sometimes problematic) role in art and aesthetic experience. In this regard, let us simply consider this: on one hand, it is certainly possible to think and talk of something like a \u201ccommon world\u201d in terms of sensations shared by all human beings; on the other hand, if we focus on each individual\u2019s emotions and feelings, and the way the latter often condition our perception of the real, this same notion becomes somewhat ambiguous. If this is true concerning our experience of the world in general, it is even truer and clearer in the specific case of our experience with art. Reflections on the fundamental role played by affectivity in the whole realm of human experience leads us to recognize, for example, that every experienced object, apart from its purely factual properties, presents some \u201csplits\u201...

F. Buongiorno et al., La fenomenologia in Italia

Phenomenological Reviews

"Aesthetics and Affectivity”, The Polish Journal of Aesthetics N. 60 (1/2021), 2021

This paper investigates the emotional import of literary devices deployed in fiction. Reflecting ... more This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers' emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I also explore the somatic dimension of reading fiction.

ZoneModa Journal, 2020

Question-First of all, I would like to start with a very general question: Why is it important to... more Question-First of all, I would like to start with a very general question: Why is it important to think about the theme of dress from a philosophical point of view? Answer-Dress, or fashion, is a privileged window on our culture and society. It in fact embodies the Zeitgeist, the spirit of the era it is rooted in. Wearing clothes is a universal experience, with fashion being the cultural form that is closest to our bodies, defining individual and collective identities. In this sense, there is no aspect of fashion that does not follow under the aegis of philosophy. In a very concrete way, the centrality of the theme of dress, or fashion, also to the philosophical exploration , can be observed in relation to an interesting example, that is, Karl Marx's coat. In Capital, Marx writes about a coat to introduce complex concepts of use value versus exchange value, and unravel his own theory of commodity fetishism. 1 Fashion, or clothing, was for Marx, the motor, product, and metaphor of the capitalist system. What is interesting is that Marx had to frequently pawn his own overcoat , due to economic struggles. Deprived of the coat, he could not present himself in a respectable way in order to gain entry to the British Museum's reading room, where he wrote Capital, and thus of the role of the coat in world history. An emblematic metaphor in Marx's Capital, the coat is also a necessary garment and social symbol in Marx's life. 2 The way we dress reflects the changes informing our society, and always embodies a Weltanschauung, which might be informed by individual and collective beliefs, or issues, whether philosophical, political, economic, religious, ethical etc. So many examples can illustrate this. Just to mention one, we can think about the Constructivist or Futurist programmes, where clothes were part of the aspiration to a total renovation of life. As Elizabeth Wilson observes, fashion is "an aesthetic medium for the expression of * Independent Scholar (Italy);

Books by Vittoria Sisca

Meccanismi di personalizzazione e mediascapes: appunti per un'estetica dei nuovi media.

Estetica, tecnica, Politica. Immagini critiche del contemporaneo., 2022