Vico's earliest extant scholarly works, the six orations on humanistic education, offer the first statement of ideas that Vico would continue to refine throughout his life. Delivered between 1699 and 1707 to usher in the new academic year at the University of Naples, the orations are brought together here for the first time in English in an authoritative translation based on Gian Galeazzo Visconti's 1982 Latin/Italian edition. In the lectures, Vico draws liberally on the classical philosophical and legal traditions as (...) he explores the relationship between the Greek dictum "Know thyself" and liberal education. As he sets forth the values and goals of a humanist curriculum, Vico reveals the beginnings of the anti-Cartesian position he will pursue in On the Study Methods of Our Time (1709). Also found in the orations are glimpses of Vico's later views on the theory of interpretation and on the nature of language, imagination, and human creativity, along with many themes that were to be fully developed in his magnum opus, the New Science (1744). On Humanistic Education joins a number of translations of Vico's works available in paperback from Cornell--On the Study Methods of Our Time, On the Most Ancient Wisdom of the Italians, the New Science, and The Autobiography of Giambattista Vico. It will be welcomed by Vichians and their students, intellectual historians, and others in the fields of philosophy, literary theory, history and methods of education, classics, and rhetoric. (shrink)

This essay takes a look at the career of Italian artist Michelangelo Pistoletto during the 1960s, seeking to make connections between his work, Italy's shifting social atmosphere and the impetus of youth counterculture at the time. Through the formal analysis of Pistoletto's paintings, sculptures, and performances, the paper culminates in a discussion of the meaning of community and its value in an industrialized world.

This essay seeks to extend the discussion of 20th-century Modernism in a Latin American context by juxtaposing the work of Uruguay's Joaquín Torres-García with the radical leftist politics of the Mexican Muralist movement. As part of this argument, the difference between textual and visual language is discussed as well as the role of monuments in the creation of history and cultural identity. Finally, it concludes with a brief talk on the visual culture of Fascist Italy and the issue of mapping (...) as it pertains to nationalistic sentiment. (shrink)