Maria Antonietta Pranteda | Università degli Studi di Torino (original) (raw)
Papers by Maria Antonietta Pranteda
Filosofia, 2016
Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before ... more Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before the aesthetic turn brought about by Burke and Kant. In Edmund Burke's Philosophical Enquiry into Our Ideas of Sublime and Beautiful, fear is the form in which Sublime really operates in the mind and body of the beholder. Fear is converted into terror and into a sort of delightful terror, which affects the subject of its action. Its outcome may be considered a strong physical reaction to several aspects of Nature and its objective reality (stormy seas, huge and elevated mountains, deep caverns resounding mysterious echoes and voices, fi erce and dangerous beasts). In the Critique of Judgment, fear is an expression of the dynamic sublime, the power of nature that exposes human beings to formidable natural forces. This evokes a feeling of weakness, but it is precisely this feeling that induces the certainty of a force greater than the natural, namely the power of reason, which compensates for human insuffi ciency in the moment of fear. In this way, Kant releases man from it, although ruling out the possibility for this experience to become an object of aesthetic contemplation.
Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before ... more Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before the aesthetic turn brought about by Burke and Kant. In Edmund Burke's Philosophical Enquiry into Our Ideas of Sublime and Beautiful, fear is the form in which Sublime really operates in the mind and body of the beholder. Fear is converted into terror and into a sort of delightful terror, which affects the subject of its action. Its outcome may be considered a strong physical reaction to several aspects of Nature and its objective reality (stormy seas, huge and elevated mountains, deep caverns resounding mysterious echoes and voices, fierce and dangerous beasts). In the Critique of Judgment, fear is an expression of the dynamic sublime, the power of nature that exposes human beings to formidable natural forces. This evokes a feeling of weakness, but it is precisely this feeling that induces the certainty of a force greater than the natural, namely the power of reason, which compensate...
"Questo libro esamina le dispute occorse nell’ambito degli studi storico-linguistici che, ne... more "Questo libro esamina le dispute occorse nell’ambito degli studi storico-linguistici che, nella Germania dell’Ottocento, coinvolsero gli “ermeneuti”, sostenitori della centralità del commento dello studioso relativamente ai fatti interpretati, e i “filologi”, i quali optavano invece per un’impersonale recensio del testo. Alla radice del dibattito si pone tuttavia una domanda essenzialmente filosofica: come si può pervenire alla verità oggettiva nella conoscenza del nostro passato? Le risposte fornite da Dilthey, Droysen e Husserl non sono certo univoche: Droysen si mantiene sempre risolutamente fedele all’ermeneutica. Una lunga evoluzione condurrà invece Dilthey dall’adesione alle tesi di Droysen al riconoscimento – favorito dal lungo dialogo con Husserl – della validità del concetto di “espressione” nella conoscenza dei sistemi storici impersonali. Nel contempo prende forma la matura consapevolezza di Husserl dell’impossibilità di fondare ancora la storia come scienza rigorosa. Indice: Prefazione 1. L’ emancipazione della filologia dall’ ermeneutica. Da Schleiermacher a Lachmann 2. Scientia de singularibus. L’ influenza di Droysen sull’ ermeneutica di Dilthey 3. Il problema dell’ «espressione storica» in Dilthey e Husserl Bibliografia Nota sull'Autore Maria Antonietta Pranteda insegna Storia della filosofia classica tedesca presso l’Università di Torino. Ha pubblicato, tra l’altro, Individualità e autobiografia in Dilthey (Milano, 1991); Il legno storto. I significati del male in Kant (Firenze, 2002). Ha curato, con Corrado Bertani, il volume Kant e il conflitto delle facoltà. Ermeneutica, progresso storico, medicina (Bologna, 2003). Sempre su Kant ha pubblicato numerosi saggi in Italia e Germania. Nel 2009 ha ottenuto dalla Cambridge University (England) il premio “The Leading Philosophers of the World 2009 in Metaphysics”."
Filosofia, 2016
Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before ... more Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before the aesthetic turn brought about by Burke and Kant. In Edmund Burke's Philosophical Enquiry into Our Ideas of Sublime and Beautiful, fear is the form in which Sublime really operates in the mind and body of the beholder. Fear is converted into terror and into a sort of delightful terror, which affects the subject of its action. Its outcome may be considered a strong physical reaction to several aspects of Nature and its objective reality (stormy seas, huge and elevated mountains, deep caverns resounding mysterious echoes and voices, fi erce and dangerous beasts). In the Critique of Judgment, fear is an expression of the dynamic sublime, the power of nature that exposes human beings to formidable natural forces. This evokes a feeling of weakness, but it is precisely this feeling that induces the certainty of a force greater than the natural, namely the power of reason, which compensates for human insuffi ciency in the moment of fear. In this way, Kant releases man from it, although ruling out the possibility for this experience to become an object of aesthetic contemplation.
Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before ... more Fear was a fundamental issue in political philosophy and moral theories (Hobbes, Spinoza) before the aesthetic turn brought about by Burke and Kant. In Edmund Burke's Philosophical Enquiry into Our Ideas of Sublime and Beautiful, fear is the form in which Sublime really operates in the mind and body of the beholder. Fear is converted into terror and into a sort of delightful terror, which affects the subject of its action. Its outcome may be considered a strong physical reaction to several aspects of Nature and its objective reality (stormy seas, huge and elevated mountains, deep caverns resounding mysterious echoes and voices, fierce and dangerous beasts). In the Critique of Judgment, fear is an expression of the dynamic sublime, the power of nature that exposes human beings to formidable natural forces. This evokes a feeling of weakness, but it is precisely this feeling that induces the certainty of a force greater than the natural, namely the power of reason, which compensate...
"Questo libro esamina le dispute occorse nell’ambito degli studi storico-linguistici che, ne... more "Questo libro esamina le dispute occorse nell’ambito degli studi storico-linguistici che, nella Germania dell’Ottocento, coinvolsero gli “ermeneuti”, sostenitori della centralità del commento dello studioso relativamente ai fatti interpretati, e i “filologi”, i quali optavano invece per un’impersonale recensio del testo. Alla radice del dibattito si pone tuttavia una domanda essenzialmente filosofica: come si può pervenire alla verità oggettiva nella conoscenza del nostro passato? Le risposte fornite da Dilthey, Droysen e Husserl non sono certo univoche: Droysen si mantiene sempre risolutamente fedele all’ermeneutica. Una lunga evoluzione condurrà invece Dilthey dall’adesione alle tesi di Droysen al riconoscimento – favorito dal lungo dialogo con Husserl – della validità del concetto di “espressione” nella conoscenza dei sistemi storici impersonali. Nel contempo prende forma la matura consapevolezza di Husserl dell’impossibilità di fondare ancora la storia come scienza rigorosa. Indice: Prefazione 1. L’ emancipazione della filologia dall’ ermeneutica. Da Schleiermacher a Lachmann 2. Scientia de singularibus. L’ influenza di Droysen sull’ ermeneutica di Dilthey 3. Il problema dell’ «espressione storica» in Dilthey e Husserl Bibliografia Nota sull'Autore Maria Antonietta Pranteda insegna Storia della filosofia classica tedesca presso l’Università di Torino. Ha pubblicato, tra l’altro, Individualità e autobiografia in Dilthey (Milano, 1991); Il legno storto. I significati del male in Kant (Firenze, 2002). Ha curato, con Corrado Bertani, il volume Kant e il conflitto delle facoltà. Ermeneutica, progresso storico, medicina (Bologna, 2003). Sempre su Kant ha pubblicato numerosi saggi in Italia e Germania. Nel 2009 ha ottenuto dalla Cambridge University (England) il premio “The Leading Philosophers of the World 2009 in Metaphysics”."