Le volume rassemble 25 études concernant la cosmologie médiévale, abordée à travers ses diverses composantes, à l’intérieur d’une fourchette chronologique allant de Calcidius jusqu’au XIVe siècle. Dix contributions sont consacrées à des questions de cosmologie hébraïque et islamique, traitant en particulier de Gersonide (R. Gatti), Maïmonide (L. Pepi), Avicenne (C. Di Martino, O. Lizzini), Sohravardî (I. Panzeca), Qûnawî (P. Spallino), les Frères de la Pureté (C. Baffioni) ainsi qu’aux interférences qui existent entre moyen âge islamique et latin : la grande (...) question de la cosmologie alchimique (M. Pereira), des textes traduits comme le De secretis naturae (P. Travaglia), la doctrine de la grande année dans Thebit et Pietro d’Abano (F. Seller). Les travaux de E.S. Mainoldi et de R. Gambino consacrent une large place à l’influence de la patristique grecque sur la pensée occidentale. D’autres études présentent le développement de la pensée cosmologique et scientique latine à partir de Calcidius (C. Militello), par l’intermédiaire d’Adélard de Bath (P. Palmeri), de Guillaume de Conches (G. Pellegrino) et d’autres documents divers (A. Tarabochia Canavero) jusqu’à l’avènement de l’aristotélisme physique, en particulier dans les commentaires universitaires aux Météorologiques (G. Fioravanti), au De caelo (C.A. Musatti, A. Vella) et chez Dante (M. Gallarino, P. Falzone). Quant à la littérature scientifique en langue vulgaire, elle est représentée par Restoro d’Arezzo (U. Villani-Lubelli) et Raymond Lull (J.Gayà). La communication de G. Alliney est dédiée à des questions de méthode historiographique, tandis que la contribution magistrale de Tullio Gregory sur “Cosmogonie et cosmologies chrétiennes” reconstitue de manière idéale l’ensemble des liens constituant les coordonnées générales de l’ensemble de la problématique abordée sous ses différentes facettes par les auteurs du volume. (shrink)

Recent studies suggest that covering the face inhibits the recognition of identity and emotional expressions. However, it might also make the eyes more salient, since they are a reliable index to orient our social and spatial attention. This study investigates whether the pervasive interaction with people with face masks fostered by the COVID-19 pandemic modulates the processing of spatial information essential to shift attention according to other’s eye-gaze direction, and whether this potential modulation interacts with motor responses. Participants were presented (...) with face cues orienting their gaze to a congruent or incongruent target letter location while wearing a surgical mask, a patch, or nothing. The task required to discriminate the identity of the lateralized target letters by pressing one of two lateralized response keys, in a corresponding or a non-corresponding position with respect to the target. Results showed that GCE was not modulated by the presence of the Mask, but it occurred in the No-Mask condition, confirming previous studies. Crucially, the GCE interacted with Simon effect in the Mask and Control conditions, though in different ways. While in the Mask condition the GCE emerged only when target and response positions corresponded, in the Control condition it emerged only when they did not correspond. These results indicate that people with face masks induce us to jointly orient our visual attention in the direction of the seen gaze in those conditions resembling a general approaching behavior. This is likely promoted by the fact that we tend to perceive wearing the mask as a personal safety measure and, thus, someone wearing the face mask is perceived as a trustworthy person. In contrast, people with a patch on their face can be perceived as more threatening, therefore inducing a GCE in those conditions associated with a general avoidance behavior. (shrink)

This contribution aims at highlighting some fundamental motifs of that particular philosophical anthropology which can be found in the works of G. Anders, who sets at the center of the analysis, with strong clarity, the figure of man as human being, who comes into the world as “incomplete” and “undetermined”: according to Anders this concretizes itself through the criticalconfrontation with the philosophical anthropology which becomes philosophy of the tekhne in A. Gehlen and with the Kafkian representation of an existenceradically incomplete.

Keats’ misgivings about science unweaving the rainbow and robbing Nature of its mystery were shared by many of contemporaries, and successive generations have been compelled to ask how this rapidly escalating knowledge of the universe would affect their understanding of themselves and the world they lived in. This is the concern of most of the essays in these two volumes: how are we to live with science and the issues scientific discoveries and propositions raise? And how has this relationship with (...) science been explored and expressed in literary works? Yet even before science became such a challenge to the imagination, an awareness of how people interact with the natural world – in terms of sickness and health, medicine, mathematics – had already been a literary subject, also reflected in a number of articles in Restoring the Mystery of the Rainbow: Literature’s Refraction of Science. In the twentieth century doubt became a crucial component of science as well as literature, and the relativism and uncertainty of quantum physics have proved fruitful to a wide range of dramatist, poets and novelists as many articles indicate. A systematic desire for objective criteria, verifiability, and conceptual frameworks has also increased the importance of methodology and of criticism: the many approaches adopted by the contributors to these volumes further point to the refraction of science in literature. (shrink)

In this paper, my purpose is to take into serious consideration Adorno’s explicit conception of the artwork as a force field. With this expression he intends to emphasize the inner constitution of the artwork as a movement of antagonistic tensions, a dynamic of elements that are not simply juxtaposed, but dialectically interacting with one another. In a similar configuration, the aesthetic experience of the artwork consists in letting their friction explode to its extreme, achieving a balance which remains nevertheless substantially (...) precarious and inconclusive, ready to be immediately set in motion again. Thanks to the aesthetic trait of the force field, these tensions are brought to unity in a way that it does not suppress the enactment of antagonisms, but keeps their multiplicity alive: Homer’s tale of Penelope as an allegory of art. (shrink)

We provide a phenomenological explanation of the particular function mental images play in the realization of enjoyment and their significance for human freedom on the basis of the idea, drawn from Sartre, that images are not things but rather a way consciousness behaves towards objects. The mental image’s matter, which consists of affectivity, knowledge, and kinaesthetic operations, allows imagination to conjure up an unreal item to satiate a desire. However, by foreshadowing enjoyment in the imaginary, the mental image urges consciousness (...) toward a change in the world that would make that enjoyment real. This is accomplished through the development of tools, which rely on the ability to overcome not just a given situation but also courses of goal-oriented behaviour that have already been prepared by the environment. Through this creation, consciousness exerts its freedom within reality, and marks the world as meaningful. (shrink)

Focusing on the figure of cyborg, being an important concentration of fantasy and reality, could represent a good starting point when trying to think more deeply on the relationship between man and machine, which is an essential theme of the 20th century philosophy. The article suggest how cartographies of the overall reality of contemporary subjectivities can be developed and how the latest can hope with the transformation of their modalities based upon the introduction of the machine within 'living bodies'.

After the so-called Hegelian verdict, Adorno is the first philosopher who devotes such an intense attention to natural beauty within his aesthetic speculations. This central – although unfairly bypassed – moment could be fruitfully analysed through the figure of landscapes, thematized throughout Adorno’s constellation of texts. In this framework, the landscape represents more than a mere backdrop, but rather a significant theoretical spot to concretize the connection between the aesthetic performativity and the beauty of nature. Therefore, by means of a (...) careful reading of Adorno’s various formulations on the topic, this paper aims to show how the philosopher overcomes the traditional and immediate antithesis between nature and culture or even technique. More importantly, it will be investigated how a genuine aesthetic experience of nature – also in the image of a landscape – should be configurated, in order to hopefully feel its now mutilated silence again. (shrink)