Luigi Pareyson Research Papers - Academia.edu (original) (raw)

A partire dai primi anni del XX secolo, anzitutto
in area germanofona e poi in Italia e
in altri contesti, all’interno delle concezioni
che hanno insistito sull’autonomia come
carattere distintivo dell’arte, si è fatto ricorso
a più riprese alla metafora dell’insularità.
Le particolarità di un’isola – l’essere
separata dalle altre terre e “incorniciata”
dal mare, l’avere contorni ben defi niti, il distinguersi
per particolari elementi autoctoni
– sono state adattate all’opera d’arte per
rivendicarne l’autosuffi cienza semantica
e la conseguente esigenza di essere compresa
e interpretata secondo principi a essa
immanenti. Di qui l’impiego di vocaboli quali
il tedesco Inselhaftigkeit e il suo corrispettivo
italiano “insularità”. Alla storia di questi
termini in ambito estetico e storico-artistico,
che coinvolge personalità come Simmel,
Lukács, Dessoir, Ortega y Gasset, Schlosser,
Croce, Betti, Pareyson e altri studiosi, sono
dedicate le pagine di questo volumetto.

- by
- •
- Aesthetics, Art Theory, Philosophy of Art, Georg Simmel

A pesar de que el concepto de formatividad surja y se desarrolle en el contexto específico de la estética, su importancia va mucho más allá de los límites de un ámbito o una etapa determinados de la especulación filosófica de Pareyson. A nuestro entender, la relevancia de este concepto estriba en su universalidad y en el hecho de que permite arrojar luz sobre la naturaleza de la interpretación, específicamente, sobre su modo concreto de funcionar. Desde este punto de vista, la formatividad representa, además de una adquisición definitiva para la hermenéutica de Pareyson, también un aporte fundamental para la hermenéutica en general. La primera parte del artículo pretende demostrar que la formatividad es el interno “secreto” de la interpretación y la razón de ser de su universalidad. La segunda parte intenta ilustrar el rendimiento del concepto de formatividad (es decir, lo que con él concretamente se gana) para la vigencia, alcance y fecundidad de la hermenéutica

- by Fabrizio Acciaro Losapio
- •
- Hermenéutica, Luigi Pareyson

Introduzione e cura di Danilo Breschi Fëdor dostoevskij (Mosca, 1821-San Pietroburgo, 1881), è autore, fra gli altri, dei romanzi Il sosia (1846), Memorie dal sotto-suolo (1864), Delitto e castigo (1866), L'idiota (1869) e I demoni... more

- by Danilo Breschi
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- Philosophy Of Religion, Theology, Faith, Dostoevsky

Os três pontos fundamentais do pensamento estético ou a teoria das relações entre fisicalidade e espiritualidade na arte que apresentaremos neste texto é discutido no volume Conversazioni di Estetica, (1966). O presente texto é desenvolvido com o propósito de demonstrar que a coincidência entre a espiritualidade do artista e a fisicalidade da obra de arte se funda no conceito de persona. O reconhecimento da essência da arte no formar, no executar e no produzir, isto é, no realizar simultaneamente a invenção, a figuração e a descoberta se inserem no princípio pareysoniano de inseparabilidade de arte e vida; isto nos permite admitir que toda atividade humana contém um caráter de artisticidade.

- by Roberto Maier
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- Philosophy, Theology, Problem of Evil, Pareyson

In this paper we argue that Pareyson's notion of formativity is germane to the notion of self–transcendence recently put forward in the vast domain of the sciences of the self–organization of complex systems. Following Jean–Pierre Dupuy's approach, we will not apply this notion to the analysis of Pareyson's theory; we will, instead, show — by referring to the numerous topoi where often surprisingly precise parallelisms, convergences and semantic identities are to be found — that, though being largely independent in their genesis, the logics of the two notions are already consistent with each–other. As a result, we will claim that Pareyson's theory of the work of art is best understood as a study on the integration of diVerent layers of organizational closures.

- by Emanuele Antonelli
- •
- Mimesis, Idealism, Jean-Pierre Dupuy, Theory of Art

The author contextualizes the Problem of Evil in Open Theism system, listing its main theses, primarily the logic-of-love-defense (and free-will-defense) connected to Trinitarian speculation. After evaluating the discussion in Analytic Philosophy of Religion, the focus is on the personal mystery of evil, claiming that, because of mystery and vagueness, the Problem of Evil is undecidable. Recalling other schools of thought (Pareyson: ontology of freedom; Moltmann: Dialectical theology; Kenotic theology; Original Sin hermeneutics), the author tries to grasp their common insights. One of them is the evident explanatory failure of theodicies, expressed in the antinomian statements 'God is not innocent'. The author follows these insights, developing the concept of Eternal Immolation (Bulgakov), arguing that, without a proper understanding of its mystery (what is, and what is not), theistic theodicy could remain compromised. 'Eternal Immolation' is considered consequent – or already present – in recent speculations, it stands or falls when we accept that these reveal some unresolved points in Christian doctrine. Hence, 'Eternal Immolation' becomes a coordinating-concept, able to bring together their assumptions: several kinds of kenosis, the ontology of freedom with a logic-of-love defense, strongly linked to a libertarian human freedom, and the acknowledgement of the unresolved mystery of evil.

- by Damiano Migliorini
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- Religion, Christianity, Philosophy, Metaphysics
- by Pietro Petraroia and +1
- •
- Conservation, Heritage Conservation, Martin Heidegger, Art Conservation

Hoy se habla de la lectura y de la hermenéutica por todas partes, hasta el punto de que hay quien ha hablado de ésta como de la koiné de las humanidades y de las llamadas ciencias del espíritu1. Tal vez se trate de una exageración, pero lo cierto es que hoy en día se quiere ’leer’ casi cualquier cosa: un cuadro, una escultura o una película de cine. Pero también se ‘leen’ los acontecimientos, los hechos históricos o incluso un partido de fútbol. Existe una auténtica moda hermenéutica: todo se puede ‘leer’ o interpretar. También en la estética, la lectura o interpretación se presenta en todas las actividades artísticas: en el trabajo de un actor o un músico, en el de un pintor y un restaurador, en el del escritor y su traductor, o incluso en la labor del comisario de una exposición y en la del crítico de arte que ha de reseñarla. Y, por supuesto, la lectura del arte se da de igual modo en la ‘inocente’ actividad que realizan el lector, el oyente o el espectador: el público sin más.

- by Pablo Blanco-Sarto
- •
- Pareyson, Estética, Hermenéutica, Luigi Pareyson

Con il suo prezioso volume Gianluca De Candia intende tornare a riflettere sul pensiero di Dio mostrando come, in particolare nel contesto culturale attuale, ogni atto metafisico debba essere abitato dalla libertà e dalla sottesa ermeneutica del «forse». Un forse connotato come «bifronte» perché vive – non potendo che essere anfibologica e congetturale l’indagine filosofica intorno a Dio – «sul filo di un doppio abisso, da un lato positivo, dall’altro negativo» (p. 15). Un forse che, anche sulla scia di André Neher, è con- siderato come «maggiore» ovvero aperto alla «possibilità inedita» e alla «luminosa ulteriorità» e come «minore» cioè esposto allo scetticismo negatore di ogni verità e chiuso ad ogni nuova possibilità. Ogni umano pensante si trova così di fronte all’alternativa tra la luce e l’oscurità ed è chiamato a decidere, nella consapevolezza certo che in ogni autentico forse coesi- stono i suoi due versanti, attraverso una «ragione libera ovvero ermeneutica».

- by Gianluca De Candia
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- Friedrich Wilhelm Joseph Schelling, Gianni Vattimo, Descartes, Umberto Eco

Luigi Pareyson ist bislang im deutschsprachigen Raum wenig bekannt, obwohl seine Werke in viele Sprachen übersetzt wurden, da er zweifellos neben H.-G. Gadamer und P. Ricoeur zu den Begründern der modernen philosophischen Hermeneutik gehört. Aufgrund seiner intellektuellen Vielfältigkeit hat er viele seiner Schüler, zu denen Umberto Eco und Gianni Vattimo gehören, inspiriert und ihnen ein breites Spektrum eröffnet, das von idealistischen Ansätzen über die Hermeneutik bis zur ästhetischen Theorie reicht. Der Band liefert eine vielfältige, zugleich aber in sich kohärente Skizze wichtiger Motive seiner Philosophie: die Hauptzüge seiner Fichte- und Schelling-Interpretation, die Grundlagen seiner ,,Ontologie der Freiheit“, seine philosophische Hermeneutik der religiösen Erfahrung, die Grundlinien seiner Ästhetik und schließlich Überlegungen, die die soziale Funktion betreffen, die der Philosophie zukäme. Wie ein roter Faden zieht sich durch alle diese Beiträge eine intellektuelle Haltung des Staunens. Es ist die Haltung eines Nicht-völlständig-Begreifens angesichts des menschlichen Daseins und seiner Freiheit, des Bösen in der Geschichte, des Phänomens der überschwänglichen Schönheit, der Deutungskraft des Mythos, der unvermeidbaren Andersheit des Anderen und des Ichs selbst. Und es ist genau dieses Staunen, das die Menschen – seit den Anfängen bis heute – zum Philosophieren veranlasst. »Mit diesem Werk hat Gianluca De Candia seiner wertvollen Vermittlungsarbeit zwischen der italienischen und deutschen Philosophie einen weiteren Baustein hinzufügt.« (Gianni Vattimo)

- by Gianluca De Candia
- •
- Johann Gottlieb Fichte, Gianni Vattimo, Schelling, Umberto Eco

The present study represents a search for the main references regarding Luigi Pareyson's concept of formativity in Umberto Eco’s work, aiming to identify and contextualize the forms this notion has embodied throughout the author's theoretical project, namely: A definição da arte (1968 [1955-1963]); The Open Work (1962); La struttura assente (1968), and A Theory of Semiotics (1976). Subsequently, we will see how this debate has contributed to the theoretical formalization of a recent interdisciplinary and transdisciplinary approach in the field of musicology, i.e., the Audiotactile Formativity Theory, by Vincenzo Caporaletti, which thematizes problems related to the “way of forming music” in cultures.

Abstract: This article examines the last writings of Luigi Pareyson, in which he expounds his “ontology of freedom”. First the development of his tragic thought, and
the meaning of his hermeneutic of Christianity, are analyzed; then his interpretation of the mystery of evil, in contrast with solutions which nullify or avoid it, is discussed. After explaining how Pareyson conceives the ambiguity of freedom in man, the
author concentrates on the characteristics of God’s freedom and of His self-affirmation in eternity. The conclusion indicates the advantage of keeping the philosophy of
being and the philosophy of freedom united.

- by Francesco Russo
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- Philosophy, Problem of Evil, Luigi Pareyson
- by Alessandro Bertinetto
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- Philosophy, Aesthetics, Kant, Creativity

This text attempts to provide an introduction in portuguese to the vast theme of the «Ontology of Liberty» of Pareyson. Pareyson's philosophy can be described as an existential hermeneutics, with a strong religious and eschatological tone. I release this text publicly, as I believe Pareyson's philosophy deserves to be better known worldwide and in the specific context of portuguese-speaking academic world. Pareyson'thought has influenced a generation of later 20th Century italian philosophers, such as Gianni Vattimo, Umberto Eco and Mario Perniola.

- by Pedro Sargento
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- Ontology, Philosophy Of Religion, Luigi Pareyson
- by Federico Rampinini
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- Music, Musical Composition, Music Theory, Aesthetics

Etapas del pensamiento de Luigi Pareyson

- by Pablo Blanco-Sarto
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- Philosophy, Aesthetics, Hermeneutics, Personalism
- by Alessandro Bertinetto
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- Aesthetics, Improvisation, Creativity studies, Art

In this essay I will discuss the issue of vagueness when defining the concept of open work within the philosophy of Umberto Eco (1932-2016), particularly considering its relevance for the development of his original semiotic view. The analysis of vagueness allows us to stress the importance of Eco’s concept of open work not only in Opera Aperta (1962) but in different phases of his thought. This paper is divided into five sections. Section 1 briefly outlines the Peircean notion of vagueness, trying to understand it as a pivotal concept to define the structure and dynamical form of the open work. Section 2 dwells on the concept of quality in both John Dewey and Charles Sanders Peirce: here the possibility of articulating an interpretation is considered embodied in the vague immediacy of the qualitative experience. Section 3 analyses to what extent an artwork can be considered open and in motion, according to the Pareysonian concepts of form and interpretation. Section 4 stresses the hypothesis that vagueness produces not only the condition of possibility of an open work and of its multiple interpretations, but also an increase of information due to its aesthetic quality. Section 5 calls into question the distinction between use and interpretation and specifies that interpreting an open work does not mean using it for your own purposes but interpreting a developmental movement towards its own fulfilment; a text is nothing other than the rule that constitutes the universe of its interpretations.

- by Rocco Monti
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- Aesthetics, Pragmatism, Vagueness, Charles S. Peirce

Resumen: La tercera y última etapa del pensamiento de Luigi Pareyson, la " ontología de la libertad " , ha desconcertado a buena parte de sus estudiosos. Enfermo y en un retiro cada vez más permanente en la localidad de Rapallo –donde casi cien años antes Nietzsche concentraba sus fuerzas para redactar su Zaratustra-Pareyson emprende esta última aventura filosófica. Pero la soledad en la que la concibió parece haberse reflejado en la repercusión de sus ideas. Aun sus discípulos más cercanos-entre los que se cuentan Giuseppe Riconda, Gianni Vattimo, Umberto Eco y Sergio Givone-carecen del entusiasmo con el que habían seguido su " personalismo ontológico " o su " hermenéutica de lo inagotable ". El " discurso temerario " de Pareyson acerca de Dios, el mal y la libertad desorienta a sus lectores. Se propone en estas líneas una interpretación de los motivos que lo llevaron a escribir su Ontologia della libertà, basada, en particular, en su reacción a la llamada " teodicea " , entendida ésta como modelo de respuesta puramente racional al problema del mal. Detenerse en su actitud frente a la teodicea permitiría observar algunos matices que tal vez puedan pasar desapercibidos cuando se privilegia la perspectiva aportada por otras categorías de análisis. Por otra parte, el mismo Pareyson le otorgó a este tema un lugar preferencial. Además, se trata de una cuestión con una muy extendida historia propia, que Pareyson conoce y en cuya discusión interviene.
Abstract The third and final stage of Luigi Pareyson's thinking, the "ontology of freedom", has baffled many of its scholars. Sick and in an increasingly permanent retirement in the town of Rapallo-where nearly a hundred years before Nietzsche concentrated his forces to draw his Zarathustra-Pareyson undertakes this latter philosophical adventure. But the loneliness where he has conceived it seems to be reflected in the impact of their ideas. Even his closest disciples-among whom are counted Giuseppe Riconda, Gianni Vattimo, Umberto Eco and Sergio Givone-lack the enthusiasm with wich they had followed his "ontological personalism" or his "hermeneutics of the inexhaustible". The "rash statement" of Pareyson about God, evil and freedom misleads its readers. These lines propose an interpretation of the motives that led him to write his Ontologia della libertà, based in particular on their reaction to the "theodicy", understood as purely rational model of response to the problem of evil. Focusing on his attitude to theodicy, we could observe some nuances that might go unnoticed when the perspective provided by other categories of analysis is privileged. Moreover, the Pareyson himself gave this issue a special place. Finally, it is a matter of universal scope with its own history, well known by Pareyson, which was an important part of it.

- by Juan Pablo Roldán
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- Theodicy, Philosophy Of Freedom, Problem of Evil, The Problem of Evil

How is it possible to think about the paradox of the relationship that is es-tablished between non-related terms? Transcendence means difference, ex-clusion from any relationship. Of course, saying that transcendence is not relative is a way to relate to it, and this, again, reconstructs a totality. To give this explanation without reducing transcendence to the totality, the possibility of a relationship in which one of the two terms remains outside of the relationship must be conceived, as is particularly clear in Pareyson’s thought. This can show interesting similarities with that of other thinkers. For Levinas, transcendence is revealed in the face of the other, but the face paradoxically maintains the distance of transcendence. Only a trace re-mains of transcendence, but the trace of an absence; this, however, is pre-cisely its evidence. The infinite is revealed only if it disappears in the image, because if it is shown as infinite, it would no longer be otherness, but would be only identity with itself. For Barth, there is an absolute separation be-tween God and man, but God prevails infinitely and therefore denies man. Even here, there is no relationship between man and God as between two opposites, but one of the two terms, that is God, is within the relationship but outside of the relationship: it is absolute. All this explains that thinking of transcendence as a movement means thinking of it not as an object, but as an opening of a distance, empty space, as this opening itself, which pro-duces a distance that cannot be filled. But this movement starts from the finite, from man. This means that the infinite is the condition of the finite, but the finite is also important for the infinite, which requires the limit, be-cause the infinite “produces” itself from the finished term. As in the con-ception of Pareyson, for whom the truth is offered in the interpretation as a fundamental human experience, constituting its existence, but, paradoxi-cally, not relative.

- by Giulio Marchegiani
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- Metaphysics, Ontology, Phenomenology, Émmanuel Lévinas

The intent of this essay is to try to “say God” in an innovative modality for the philosophical thought. Firstly, the general features of a philosophical Christology are outlined, which is shown can be based on the spontaneous interaction between the Christological datum (Christ-Logos, the demiurgical mediator of all things) and the transcendental datum (the “as”, analogical mediator of any speakable and thinkable thing). Secondly, the consideration of Karl Barth’s theological meditation on Nothingness takes place in order to enrich, in the last moment, the interlocution with the religious myth hermeneutics proposed by Luigi Pareyson who, at the center of God’s speakableness and thinkableness puts the figure of the suffering Christ, envisaging a tragic christology as a task for the future thought.

- by Enzo Cicero
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- Christology, Karl Barth, Problem of Evil, Luigi Pareyson
- by Gianluca De Candia
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- Aesthetics, Hermeneutics, Gianni Vattimo, Umberto Eco

The recovery of some genuine mythopoietic instances contained in the ‘Red Book’, and no longer developed by Jung in his mature Christological works (‘Aion’, ‘Answer to Job’), now seems necessary in view of a Christology that in general, in both of its main epistemic directions (theological and philosophical), modifies appropriately the myth underestimating attitude that prevailed in the last century, especially during the rule of Bultmann’s New Testament demythologizing program (so pervasive as to affect even the recent monumental ‘Jesus’ by Joseph Ratzinger), and finally opens to fruitful calls coming from both the manifold Jung’s Christ-mythology and Pareyson’s proposal of ontology of freedom as a hermeneutics of the Christian myth.

- by Enzo Cicero
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- Mythology, Jungian psychology, Christology, Carl G. Jung

O presente estudo pretende analisar a relação que o artista estabelece com a realidade durante a produção da obra de arte, sobretudo da pintura, levando em conta que a obra de arte, antes de ser representação, é apresentação em si mesma, isto é, depois de acabada, tem autonomia e estatuto ontológico, é coisa entre coisas. Ou seja, pretende-se investigar como nos tempos atuais se vê e se lida com o pressuposto de que a produção da arte é imitação e ao mesmo tempo invenção que funda uma nova realidade. Para tanto, acreditamos que a Teoria da Formatividade de Luigi Pareyson fornece algumas chaves fundamentais para se pensar estas problemáticas que se destacam na arte contemporânea, em especial, na pintura, com o foco na produção pictórica de Gerhard Richter. E, partindo da premissa de que a implicação da arte como mímesis [imitação], e, consequentemente sua pertinência, inicia-se nos primórdios do pensamento sobre arte na Grécia Antiga (em especial as contribuições de Platão e de Aristóteles). E considerando que o próprio Pareyson mostra como ambos, sobretudo Aristóteles, ainda são fundamentais, mesmo quando se trata de focar o olhar para uma teoria da arte atual, bem como para a produção artística contemporânea, a presente pesquisa estuda a intersecção de pontos centrais advindos dos filósofos gregos citados com os pontos centrais do pensamento pareysoniano sobre Arte. A proposta é construir uma ponte de intersecção entre os pensamentos de Pareyson, Aristóteles e Platão, e, ancorando-a nos conceitos cunhados na Teoria da Formatividade, expor como o filósofo italiano relê as problemáticas colocadas pelos filósofos gregos antigos. E, consequentemente, entender de que maneira esta interseção de pensamentos e conceitos contribuem para uma reflexão sobre arte na atualidade e em particular para a análise da produção pictórica de Gerhard Richter.

- by Lucia De Souza Dantas
- •
- Mimesis, Gerhard Richter, Aristóteles, Pintura

The art of cooking is always performed within a horizon or context and is never merely the application of a set of techniques. But such a context is not simply historical or geographical. When asked about terroir and its effect on a particular breed of lamb he had prepared, French chef Thierry Marx claimed that terroir is ultimately not about geography; terroir is not a place, but is in fact inside of him. One might call this a sort of portable, existential terroir. And although such a claim might seem nothing more than culinary hubris, the idea of a personal, existential terroir, or as Druckman puts it, the idea that " each chef has an inimitable culinary fingerprint, that the food he or she makes is an index tracing the past, " 1 is what gives rise to my topic of discussion today: cooking as interpretation. What does it mean to consider the art of cooking an act of interpretation; and moreover, why should the art of cooking be approached as an act of interpretation? For the purposes of this examination I wish to define cooking in a rather simple manner as the application of a set of techniques and processes to food stuffs in order to make them more edible, nourishing, and/or palatable to humans. Cooking is thus a purposeful process of transformation or metabolization. Such a definition, however, belies the rich contexts in which cooking has unfolded and continues to unfold. Cooking is never just about the preparation of food, but in its purpose and expression reveals relations of power, geography, time, and so on. For example, I have already presupposed a great deal with the phrase " the art of cooking. " I intend to take this in both senses of the genitive: that cooking, in all of its expressions, employs a certain set of skills and techniques that are unique to it; and that such cooking is in fact one of the fine arts. Although one could argue that over the past two centuries the world of the fine arts has been democratized more than ever before, the traditional hierarchies that distinguish the distance senses (sight and hearing) from the proximal ones (touch, smell and taste) nonetheless remain entrenched in our judgments and appreciation of art. 2 Thus today, even though the art of cooking and the celebrity chef seem to dominate both the popular and also the elite cultural landscape, a cooking or tasting station would still be an unexpected sight (and impossible taste) in a traditional artistic space—an art gallery or a theatre for example. And yet, given the innumerable places where food happens—from restaurants and roadside stands to supermarkets, farms and laboratories that dot our agrarian and urban landscapes—it would be problematic to claim that all of them potentially constitute examples of " food as art, " such that the category of art would become meaningless. For example, just as all representational images do not count as visual art, so too every example of cooking does not live up to the ideal of a gastronomic art. Thus, we must first ask the question: what is it that distinguishes " art " from other forms of human production? This is an impossibly broad and contentious topic, so I only hope to offer some guidelines to help organize my thoughts. For my reflection on this topic, two philosophers are central. The first, Martin Heidegger, explains the event-like character of artistic production in his famous essay " The Origin of the Work of Art. " As an event and not merely an object of art, its qualities are ephemeral and fleeting rather than stable and unchanging; such a work has no essence or nature in the traditional sense, no reference other than to itself as an event that is the very criterion for its truth; as a critical idea, the event collapses the traditional divisions between artist, art work, spectator of art, and the medium through which it is delivered, rendering the event something that happens beyond the singular and

- by Robert T Valgenti
- •
- Hermeneutics, Jacques Rancière, Food Studies, Luigi Pareyson

Abstract: The article begins with a consideration oj the claim that hermeneutics has
been a predominant current in the philosophy oj the latter decades of the twentieth
century. Certain topics in contemporary hermeneutic thought are then examined,
such as the universality of hermeneutics, the linguistic nature oj understanding, and
the concept of belonging. The study brings out the limits and the implications of
these themes, drawing upon the works of the philosophers involved in the discussion
in the past few years. Although the article's chief point of reference is the thought of
H.G. Gadamer, the reflections of other authors are brought to bear on it; these include
P. Ricoeur, E. Betti, K. O. Apel, and L. Pareyson. The article concludes with an
indication of the need for a more searching dialogue between the hermeneutical and
metaphysical outlooks.

- by Francesco Russo
- •
- Philosophy, Hermeneutics, Paul Ricoeur, Hans-Georg Gadamer
- by Nathalie Frogneux
- •
- Philosophy, Hans Jonas, Philosophie, Luigi Pareyson

This essay aims at clarifying the relation between the notions of formativity and improvisation, with particular attention to musical practices.
Firstly, I will focus on originality and exemplarity, then I will briefly deepen three themes of particular interest faced by Pareyson’s philosophy of art: 1) the unforeseen; 2) the interpretation; 3) the cue or sketch. My purpose is to suggest some adjustments to the notion of formativity, in order to outline the essential features of a logic of musical improvisation.

- by Roberto Zanetti
- •
- Improvisation, Music Aesthetics, Luigi Pareyson, Critique of Judgment

The essay aims to focus on reception and interpretation of Dostoevsky in the thought of Luigi Pareyson (1918-1991) and his heirs, who have developed a deep and original theoretical reading of Dostoevsky's work, able to bring out not only its ethical stance, but most of the essential aspects of his thought, and to investigate its current relevance. The reflection of Pareysonwho promoted the introduction of Dostoevsky's thought into the academic circles of Turin, being convinced that philosophy cannot avoid confronting the issues it exploresconsists of three main moments: the experience of good and evil, the experience of freedom and the experience of God. Starting from consideration of Dostoevsky's characters as ideas, Pareyson proposes a new and coherent philosophical interpretation of his work, which can undoubtedly be compared to those of Ivanov, Berdjaev, Evdomikov, Šestov. His observations around the Legend of the Grand Inquisitor and the "refutation of Ivan"which, according to him, constitute the most significant and theoretically prolific moments of Dostoevsky's productionseem unaffected by the flow of time and could still represent a valuable and indispensable contribution to the understanding not only of the great Russian author, but of human nature itself.

- by Alessandro Carrieri
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- Philosophy, Hermeneutics, Dostoevsky, Problem of Evil

This paper suggests a creative process' methodology approaching semiotics and heuristics studies, particularly in architecture. Understanding creative process as a forming-activity [formatività, it.] a concept coined by Luigi Pareyson (1918-1991) in the Aesthetics field, this approach can be amplified to every knowledge area because it puts creation in a non-normative place, conceptualizing thought in a perspective of discovery and invention. In the contemporary context, it's important to conceive architecture as a multiple system in which several languages, not always belonging to architecture's exclusive domain, allow the conformation of hybrid languages and introduce to other spatiality conceptions. This " crossing borders " process as an intermedia concept finds a way in intersemiotic translation studies, especially developed by Julio Plaza (1938-2003) in the late 70s in Brazil. Plaza's theories state that the process of moving one language into another language modifies the system's structure and the work grows in quality (firstness, in Peirce's categories). The intersemiotic approach as a method allows a synchronic thought where there is no separation between seeing, reading and translating forms and objects. Therefore it reduces the gap between thinking and doing by stimulating students to reflect about their own learning process (perceptive knowledge). At the same time, this work perspective leads to a discussion about genius, talent and authorship in architecture towards an idea of constant experimentation in the making/doing process [operare, it.], freedom, autonomy and multiple possibilities to work with other media. This argument rests on a concept of architecture as a collaborative process between different disciplines and as an open field. 1. Creative process in architecture: places to invent This paper proposes a reflection on creative process in architecture from a discovery and invention's perspective. Therefore, this paper proposes a reflection on the insertion of creation into an architectonic dynamic movement in which learners would be capable of developing methods more conformed to their abilities and sensibilities as they experiment and reflect on their own processes. As we support the creation process in architecture as being a wide field of experimentation that comprises many different languages and meanings, this leads us to the translator's thought. To investigate the translation processes in architectonic context widens the debate on multiple and hybrid methodologies as they give up the linear logic and turn to a reflex of the relational thought that passes through viewing, interpreting and translating simultaneously. Based on the contexts and approaches presented in this paper, we intend to widen the debate on critique and creative potential of experimentation processes in architecture in order to reflect on their own methods. This makes one reflect on the autonomous thought development on architecture. Therefore, we reinforce the idea supported by the architect John Rejduk (1929-2000) that advocates as being necessary to take time in thought and experimentation processes. To understand the inseparability between this pair of thought and shape and of aesthetic and poetics opens room for architecture to mix with other languages, codes and channels of architectonic production, thus overcoming the ideia of a static and functional space to a dynamic and diagrammatic approach. 2. Heuristic methods and the Formativity Theory " Form is not only the final result but the entire process is the form. " (CORDEIRO, Waldemar) In scientific tradition the methodological issue refers to the course an individual takes through thought and formal actions in order to reach his desired result. This course is not always outlined by something predetermined , being, in this way, vulnerable to issues that can arise and alter the way. Heuristics processes demand attention and availability to games of chance. For this reason, heuristic is a science that studies the methodology of discovery in order to understand the way of one's own thought, resorting to documents and records about those processes. In this way, it is a multiple methodology suitable to the contemporary mode of work.

- by Federica Pazzelli
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- Karl Barth, Pareyson, Italian Philosophy, Luigi Pareyson

Abstract: "Dostoevsky's novels are pure philosophy," declared Luigi Pareyson (1918-1991), an Italian existentialist. He presents a Christian Dostoevsky capable of overcoming the nihilistic onslaught of a post-Christian culture, both in its harshest and "weaker" and postmodern versions. Nietzsche finds a good antagonist in Dostoevsky, who, being earlier in time, will be able to overcome Nihilism. Before being a Christian, the Russian novelist had already descended into hell out of nowhere, in his exile in Siberia. He survived this ordeal − which inevitably led him to nowhere − and paradoxically found Jesus Christ. That is why his novels and his ideas can offer a shelter at this turn of the millennium?

- by Pablo Blanco-Sarto
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- Nietzsche, Dostoevsky, Cristianismo, Luigi Pareyson

Il tema della libertà nel mondo moderno ha assunto un ruolo sempre più decisivo e ineludibile, sia in campo culturale, politico, sociale, economico sia in campo filosofico, tanto da esserne definita, a partire da Cartesio e, in modo più esplicito, nell’Ottocento, come la «vocazione segreta». Allo stesso tempo essa presenta sempre di più non solo il volto della plurivocità e di un contenuto che sfugge alla presa, rischia di diventare pericolosamente vuoto e pertanto necessita di una riflessione teoretica solida.
Muovendo dalle “conquiste” dell’ontologia della libertà di Pareyson e di Ciancio, e in dialogo con la prospettiva di Severino, l’intervento vuole esplicitare un ripensamento teoretico della libertà alla luce di un’ontologia trinitaria e delle indicazioni tratte dal “concetto”, per così dire, di struttura originaria. Dall’evento trinitario sarà sviluppato il rapporto necessità/realtà, assoluto/arbitrario e più ancora essere/non essere. Da qui si possono sviluppare tre ordini di considerazioni: il primo, attorno al concetto di libertà come inizio, non subordinato al nulla dell’arbitrarietà; il secondo, per cogliere la specificità trinitaria pensando alla relazione agapica come il «prima» di tutto, come fondamento dell’essere definito da una dinamica di reciprocità; infine un contributo per quella «ricategorizzazione» della negatività, in cui il non dell’essere non è il mero nulla che si dischiude nell’atto della scelta di essere da parte della libertà originaria, ma è l’atto di far-essere l’altro.

- by Davide Penna
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- Emanuele Severino, Filosofía, Ontologia, Filosofia Teoretica

This essay, presented within the seminar of History of Modern Philosophy at the Catholic University of Sacred Heart in Milan, aims to analyze Schelling's writing "Philosophie und Religion" and to insert it in his speculative trajectory. After a brief introduction on the genesis of Schelling's philosophy in his Auseinandersetzung with Fichte and on the fundamental structure of the Identitätsphilosophie, the essay exposes the main novelties contained in "Philosophie und Religion". In particular, the theme of the fall (Abfall) is examined as the genesis of a real and extra-divine finiteness due to an act of freedom by the ideal finite. The doctrine of the "double life" of the finite (inside and outside the Absolute) is put in relation with Emanuele Severino's interpretation of Anassimandro's thought. The fall of the finite, instead, is interpreted according to the Fichtian category of Tathandlung as action-in-act and cause of itself.

- by Tommaso Mauri
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- Philosophy, Metaphysics, Philosophy Of Religion, Continental Philosophy

In this article, I focus on Pareyson’s conception of evil, which he understands in terms of concrete ontological reality, rather than regarding it as a sheer moral issue. After outlining Pareyson’s existential hermeneutics, which revolves around the concept of person and her constitutive relation with transcendent Being, I also show how Pareyson’s discourse on evil is strictly related to his conception of freedom and transcendence. In particular, he defines freedom as ‘beginning and choice’, that is God’s originary choice of Being over nothingness, rather than as the theoretical foundation of Being itself. Moreover, the idea of transcendence is a constant presence in Pareyson’s reflection, from the early to the mature period, and therefore even his interpretation of the questions of evil and freedom is to be considered within the theoretical framework set by his notion of transcendence. In conclusion, I demonstrate that, according to Pareyson, not only are evil and freedom inscribed in God’s transcendence, but they cannot properly be grasped and understood independently of their deeply religious implications.

- by Daniele Fulvi
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- Ontology, Hermeneutics, Transcendence, Problem of Evil

RESUMEN Los conceptos de "formatividad" y "producción" caracterizan las estéticas de Luigi Pareyson y Gianni Vattimo, respectivamente, y forman parte del proceso de renovación de la estética italiana a partir de la segunda mitad del siglo pasado. El énfasis en la for-matividad y la producción permite a los autores afirmar el ca-rácter filosófico de la estética, cuya teoría se nutre de la materia prima proporcionada por las experiencias artísticas concretas. A partir del análisis de los textos originales, primero de Pareyson y después de Vattimo, se muestra el carácter ontológico de la es-tética. El texto de Gianni Vattimo, de 1961, Il concetto di fare in Aristotele, es la base para afirmar la tesis según la cual la estética posee una vocación ontológica, anticipando lo expresado por el mismo Vattimo en Ontologia e poesia, de 1967, aspecto que hace patente la comparación con Luigi Pareyson.

- by Luis Uribe Miranda
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- Gianni Vattimo, Estética, Estética, Filosofía Del Arte, Luigi Pareyson

Resumen: El presente escrito se centra en la primera etapa del pensa-miento de Luigi Pareyson. La tesis a demostrar es que el personalismo ontológico, como propuesta original del pensador italiano, hunde sus raíces en los estudios dedicados por Pareyson al existencialismo, como un pensamiento de la disolución del hegelismo. La insuficiencia de los conceptos de existencia y de síntesis dialéctica permitirá a Pareyson, a través de los conceptos de persona, libertad, singularidad, interpretación, auto y heterorrelación, articular una filosofía de cuño ontológico que renovará las investigaciones filosóficas de su época en Italia. Palabras clave: Luigi Pareyson-Persona-Existencia-Personalismo ontológico-Autorrelación-Heterorelación. 1 Brasileña. Doctora en Filosofía por la Universidad Federal de Río Grande del Norte (UFRN), Natal, Brasil. Con pasantías de investigación en.br 2 NT. La presente traducción, tanto del portugués como del italiano, forma parte de la Investigación Postdoctoral en Filosofía que está realizando el traductor en la Universidad Federal de Minas Gerais (UFMG), Brasil. HERMENÉUTICA INTERCULTURAL REVISTA DE FILOSOFÍA Nº 23, 2014

- by Íris Fátima da Silva Uribe and +1
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- Filosofía contemporánea, Estética y Teoría del arte, Luigi Pareyson, Filosofia Italiana