El presente artículo trata los elementos órficos que pueden encontrarse en las Dionisíacas de Nono, un poema épico griego de época imperial (s.V). En su canto sexto podemos leer una versión del nacimiento y muerte de Dioniso Zagreo, un mito fundamental para la religión mistérica griega, tanto la órfica como la dionisíaca. Este artículo analiza el mito tal y corno lo encontramos en las Dionisíacas tratando de confrontarlo con lo que sabemos de la religión órfica y dionisíaca, todo ello desde (...) la óptica de Nono, un poeta entre paganismo y cristianismo, cuyas inclinaciones religiosas aún no han sido despejadas. (shrink)

Se l'attenzione maggiore degli studiosi si è da sempre concentrata sulle Dionisiache, non di meno negli ultimi vent'anni si assiste a un rinnovato interesse per l'altro poema esametrico attribuito a Nonno, la Parafrasi del Vangelo di Giovanni; ciò soprattutto per merito di Enrico Livrea e della sua scuola fiorentina, di cui anche l'autore di questo volume fa parte. Esso rappresenta una tappa ulteriore – dopo l'edizione del Canto I (De Stefani), del Canto II (Livrea), del Canto XVIII (Livrea) e del (...) Canto XX (Accorinti) – in quello che si annuncia come un progetto di edizione critica commentata di tutti canti del poema sacro nonniano: progetto certamente ambizioso ma indispensabile per fare luce piena su un momento fondamentale dell'epica tardoantica. Diversamente dalla poesia centonaria, Nonno, pur seguendo dappresso la Vorlage evangelica, volle fare opera in qualche misura originale e ci riuscì, pur con uno stile che non si potrebbe immaginare più contrastante rispetto alla austera sobrietà del dettato giovanneo. Il volume di Agosti, sostenuto da una ricchissima e pressocché completa bibliografia, si apre con una Introduzione assai ampia e decisamente pregevole per la capacità dimostrata dallo studioso di inquadrare il poema nonniano nell'ambito vasto dell'epica tardoantica non solo greca ma anche latina: da questo punto di vista illuminanti appaiono i raffronti con Giovenco, Aratore, Claudiano, Prudenzio, Commodiano, oltre che, naturalmente, con Gregorio Nazianzeno, Eudocia e gli Homerocentones. Convinto che il Nonno parafraste sia il medesimo autore delle Dionisiache, Agosti ritiene decisamente superata la tesi contraria, e intelligentemente si limita a rilevare la straordinaria affinità fra i due poemi non solo a livello stilistico, linguistico e metrico, ma anche – aspetto forse ancora più sorprendente – sotto il profilo concettuale: «Vi sono elementi di chiaro influsso cristiano nelle D. e d'altra parte la figura di Cristo tende ad assumere alcuni tratti bacchici nella P.» (p. 46). Una tesi, questa, che viene corroborata con numerosi raffronti puntuali nelle dense note di commento. Essendo gran parte del Canto Quinto, corrispondente al quinto capitolo del vangelo giovanneo, dedicato al miracolo del paralitico guarito nella piscina di Bethesda, viene affrontato il problema dello spazio dedicato ai miracoli di guarigione nel mondo pagano e cristiano del V secolo, in particolare nell'ambiente egizio dove Nonno visse e operò (ma molto cauto si mostra, a mio avviso saggiamente, l'Autore nei confronti di identificazioni troppo incerte, come quella che vorrebbe Nonno vescovo di Edessa). Il lettore deduce dalle sue considerazioni come nulla di sorprendente o di aberrante l'uomo tardoantico potesse scorgere nel racconto di Giovanni, che anzi non discorda da analoghe imprese attribuite ad Asclepio, il dio guaritore ϰατεξοχήν, ma anche a taumaturghi come Apollonio di Tiana: si trattava, se mai, di una sorta di concorrenza fra Cristo e i suoi omologhi e rivali pagani. Allo stesso modo, Agosti pensa che il pubblico della Parafrasi e quello delle Dionisiache fosse in sostanza il medesimo, forse con una percentuale cristiana maggiore nel primo caso e minore nel secondo. Ovviamente si rimane nel campo delle ipotesi, ma certo il sincretismo del tempo poteva forse spingersi tanto avanti da giustificare simile osmosi, anche se appare lecito dubitare che cristiani convinti giungessero a tollerare l'incredibile ampiezza del poema a gloria di Dioniso, e, viceversa, che a un pubblico pagano potesse veramente interessare il vangelo di Giovanni – di cui per altro Agosti segnala qualche risonanza in ambiente neoplatonico. Meritorie appaiono anche le osservazioni sul retroterra esegetico del poema sacro, «più vicino all'esegesi che alla parafrasi stricto sensu» (p. 111), con particolare riferimento al commento giovanneo di Cirillo d'Alessandria: una consonanza del resto già osservata da altri studiosi della Parafrasi. Nelle note l'Autore cita numerosi passi da Cirillo, non nascondendosi comunque la notevole libertà con cui Nonno – il cui intento primario non dovette certo essere teologico – se ne servì. Non meno interessanti le considerazioni su alcuni punti di contatto con la liturgia, tema di cui Agosti segnala la non secondaria importanza per una valutazione corretta e completa dell'epica cristiana. (shrink)

En el canto V del infierno de la Divina Comedia, el autor presenta diferentes ejemplos de condenados por la lujuria. En este trabajo se propone la clasificación de dichos personajes en dos categorías, por un lado, aquellos que someten la razón a la pasión erótica y, por el otro, aquellos que la someten a la pasión afectiva. Así mismo, se cuestionan los motivos por los cuales el autor florentino considera estas aproximaciones como transgresiones graves contra «el orden del amor». A (...) continuación, se lleva a cabo un análisis comparativo de estos dos tipos de amor presentes en dos obras que establecen una clara relación de intertextualidad con la Divina Comedia, a saber, la No-Divina Comedia de Zygmunt Krasinski y Don Juan en el infierno de Carlos Fisas. Se demuestra de este modo la amplitud de la influencia de este autor en diferentes épocas y espacios culturales, así como, su asombrosa universalidad. (shrink)

En el Canto V del Infierno, uno de los pasajes más universalmente conocidos de la Divina Comedia, Dante sugiere la fuerza corruptora de la literatura, desencadenante del adulterio de Paolo y Francesca. Este esquema en que lo literario se convierte en motivo de perdición, reaparece en casos tan conocidos como el de Don Quijote y otros menos conocidos como el dickensiano Nicodemus Boffin de Nuestro común amigo. Estos escritores dejan traslucir en sus obras sus inquietudes respecto a una influencia que (...) simultáneamente buscan y temen sobre los lectores. Sus «libros dentro de los libros» pueden ser interpretados como una vacuna con la que el escritor quiere proveer al lector de las herramientas para protegerse de los efectos perversos de una literatura recibida en clave romántica. Proponemos, siguiendo especialmente a Renato Poggioli, John Freccero o René Girard, una interpretación antirromántica que subraya la actualidad de la arquitectura moral de la Divina Comedia y su ascendencia sobre varios clásicos de la literatura moderna posterior. (shrink)

The article seeks to instantiate the distinctive features and basic research strategies in legal ontology as they are presented in the early works by the famous Oxford philosopher of law Herbert Hart, published before his major book The Concept of Law. The author tries to isolate the most salient aspects of the analytical legal tradition applicable to Russian legal theory, which can bridge the existing gap between these approaches despite considerable difference both in their background and methodology.

In lieu of an abstract, here is a brief excerpt of the content:Drinking Rules! Byron and BaudelaireJoshua Wilner (bio)This essay 1 takes up two nineteenth-century texts on the theme of intoxication in which the poetic word can no longer, if it ever could, stably figure itself as the metaphoric other of the drug, that is, as a legitimate means of imaginative transport, and in which the writer’s enthrallment by the transporting substance of words shows us its addictive and, one might (...) say, prosaic face.The first of these pieces is a pair of stanzas from Canto II of Byron’s Don Juan, the other, Baudelaire’s brief prose poem “Enivrez-vous,” pieces that Jean Pommier [341] and, following Pommier, Robert Kopp [314–15] have suggested may be connected, though neither reader enters into much more detail than to note that both bits of writing, in Kopp’s words, “chant[e] l’ivresse.” Now the praise of drunkenness is of course a poetic commonplace, and the mere fact of its appearance in these two bits of text argues about as intimate a bond of kinship as that involved in pointing out that you and I are both Noah’s children. But there are, I would argue, compelling reasons for looking at these pieces in relation to one another and to which I believe Pommier was responding.That Byron mattered to Baudelaire is attested to by a number of references scattered throughout the latter’s work and letters, references which, while faulting Byron for garrulousness, praise him for having the thing that makes poets: “une diabolique personnalité” [OC 2: 232]. Perhaps the most interesting of these references occurs in a well-known letter that Baudelaire wrote to his mother in July 1857, shortly after Les fleurs du mal had been published and while the storm of controversy that was to culminate in the prosecution and expurgation of the collection for obscenity was rapidly gathering:On me refuse tout, l’esprit d’invention et même la connaissance de la langue française. Je me moque de tous ces imbéciles, et je sais que ce volume, avec ses qualités et ses défauts, fera son chemin dans la mémoire du public lettré, à côté des meilleurs poésies de V. Hugo, de Th. Gautier et même de Byron.[CP 1: 411][They deny me everything, the spirit of invention and even knowledge of the French language. I could care less about all these imbeciles, and I know that this volume, with its qualities and its faults, will make its way in the memory of the [End Page 34] lettered public, along with the best poetry of V. Hugo, of Th. Gautier, and even of Byron.]The pride of place Baudelaire reserves for Byron in this list was somewhat dated even in its time 2 and odd in other ways, especially given the more qualified expressions of admiration we meet elsewhere in his writings. But it becomes more understandable if one considers that for Baudelaire’s mother, who was of Byron’s generation and had early ties to England 3 (in fact, she apparently taught Charles English during his childhood [E. Crépet 30], making it, strangely enough, part of his “mother tongue”), Byron’s would have been the emblematic case of a writer for whom a reputation for depravity was overtaken by poetic honor, perhaps at the cost of his death in a noble cause.Apart from this evidence of a felt affinity, there are specific formal grounds for associating the two pieces. Since they are fairly brief, allow me first of all to cite them both. Here are the stanzas from Canto II of Don Juan: 179 Man, being reasonable, must get drunk; The best of life is but intoxication: Glory, the grape, love, gold, in these are sunk The hopes of all men, and of every nation; Without their sap, how branchless were the trunk Of life’s strange tree, so fruitful on occasion! But to return, - Get very drunk; and when You wake with head-ache, you shall see what then. 180 Ring for your valet - bid him quickly bring Some hock and soda-water, then you’ll know A pleasure worthy Xerxes the... (shrink)

A partire dalla celebre disputa tra Martin Heidegger e Rudolf Carnap, avvenuta nella prima metà del secolo scorso, circa la significatività della metafisica, la filosofia ha iniziato a indirizzarsi verso due canali differenti e per lo più paralleli, quelli della filosofia analitica e della filosofia continentale. Nonostante attualmente si ricorra spesso a questa distinzione in maniera dogmatica, il presente articolo mira a definire i contorni di un recentissimo dibattito tra alcuni filosofi contemporanei di stampo analitico in merito alla ricezione e (...) alla comprensione di alcune tesi di Martin Heidegger. L’argomento risulta di particolare interesse non solo al fine di introdurre all’interno del panorama filosofico italiano un dibattito ancora poco studiato, ma anche perché porta con sé un notevole esempio di dialogo tra i due approcci alla filosofia sopramenzionati. Il focus centrale del dibattito riguarda la nozione filosofica di «modi d’essere», così come elaborata da Kristopher McDaniel e Joshua Tepley, che individuando in Heidegger un sostenitore della tesi aristotelica secondo cui «l’essere si dice in molti modi», cercano di smarcarsi dalla celebre dottrina di W. V. O. Quine e dai suoi sviluppi univocisti. La dottrina univocista rispetto al predicato d’esistenza gioca un ruolo di predominio nella metafisica analitica contemporanea e trova nel filosofo americano Peter van Inwagen uno dei massimi esponenti. Il fine della strategia di McDaniel consiste nel richiamarsi a Heidegger allo scopo di fornire una fondazione non solo della nozione polivoca dell’essere, analiticamente tradotta in ontological pluralism, bensì anche della sua struttura analogica. Joshua Tepley, dal canto suo, si preoccupa invece di fornire un’interpretazione della filosofia heideggeriana maggiormente appetibile, a suo dire, ai filosofi analitici traducendo i vari modi dell’essere, e l’essere stesso, in termini di «proprietà» degli enti. Nelle seguenti pagine si offrirà una panoramica esaustiva di questo dibatto fornendo, al termine di essa, alcune osservazioni critiche sia di carattere speculativo sia in merito all’effettiva coerenza con l’opera di Martin Heidegger. (shrink)

Purpose. The knowledge influence analysis on the formation process of new anthropological images of man in the contexts of scientific achievements and innovative technologies is the basis of this study. It involves the solution of the following tasks: 1) explication of the ontological content of knowledge in the anthropo-cultural senses of the epoch; 2) analysis of the knowledge influence on the process of forming a new type of man; 3) characteristics of the modern anthropological situation in the context of digital (...) culture; 4) substantiation of interrelation of phatic communication with post-truth society in the dimensions of anthropo-social transformations of the present. Theoretical basis. Ontological content of knowledge determines the anthropo-cultural context of the epoch by forming a system of intellectual, value, social meanings of human life. The assertion of new anthropological types of man is caused by the changes in social and cultural space in the context of the growing influence of achievements in scientific knowledge and technology. Digital revolution as the process of expanding the possibilities of informational-digital reality, the substitution of knowledge for information gives rise to Homo digitalis – the digital man. He focuses on phatic communication, which in its intellectual meaninglessness is commensurate with the anthropological dimensions of post-truth society. Originality. It is substantiated that Homo digitalis is the result of a complex set of heterogeneous effects of scientific knowledge, which in modern post-truth conditions appears as different communicative practices. A condition for the formation of a new anthropological type of man in the perspective of scientific and technological progress is the affirmation of ethical wisdom. Conclusions. Knowledge in the process of evolution of socio-cultural life acquires constitutive significance for the process of formation of anthropological situations that manifest themselves in new images of man. Today, he is commensurate with the demands of digital culture, in which human life practices are increasingly becoming information and digital clusters embedded in the reality of a post-truth society. The means of overcoming the passivity of digital man is the formation of a new anthropological type based on a rethinking of the value system. (shrink)

The charge of treason and the judgment of insanity have left questions that invariably intrude on an assessment of Pound’s life and work. Critics frequently adopt a strategy of separating the life and the work, but tactical review is often necessary. There is a lightness in Pound’s writing that speaks of a being detached from the concerns of the world. Yet with his economic theory of social credit, his political and racial views, as well as his concern for other writers, (...) he is of the world—in the world and part of it. He was decidedly not tied to geography. He had no region or period, and he was as comfortable in Confucian China as in Dante’s Florence or twentieth-century Rome. He could work anywhere. He wrote The Pisan Cantos while jailed in Italy. The Cantos were published while he was in a mental wart at St. Elizabeths, yet a court found that he could not understand the charges against him. Can such an impairment and such achievement occur at the same time? If you say no, then what of the treason? Did he feign madness to escape punishment? Could Pound have been convicted of treason?In this paper, I intend to examine what has been loosely referred to as “the trial of Ezra Pound” and to show that Pound’s case should have been brought to trial within one or two years after his commitment to St. Elizabeths because he had a reasonable chance of being found not guilty of treason; even if found guilty, the circumstances in mitigation of a long prison term would have been so evident that he would have likely spent considerably less time in prison than he spent locked up at the mental institution. I will do this, in part, by reviewing the similarities and differences between Pound’s case and three other treason cases that came to trial within the first years after World War II. The English case, Rex v. Joyce, was tried shortly after the close of the war and well before Pound’s competency hearing on 13 February 1945.3 The law applied in Joyce would have led Pound’s lawyer to seek some postponement of trial until the American courts decided whether to follow the English lead. The other two cases involve the Americans, Douglas Chandler and Robert Best, employees of German radio, who were indicted with Pound in 1943. 3. William Joyce was an American who came to be known as “Lord Haw Haw.” He was hanged at Wandsworth, England, 3 Jan. 1946. He was the best known of the “radio traitors.” He began his programs, “This is Jairmany calling,” and would then prophesy the destruction of English towns and cities. The name “Lord Haw Haw” was created by the English journalist, Jonah Barrington, to ridicule Joyce and to make him appear idiotic. Conrad L. Rushing is a Superior Court Judge in California and an occasional lecturer in law at the University of California, Berkeley. He teaches a course in law and literature at the California Judges College and is a founder of the Sane Jose Poetry Center. (shrink)

The article investigates the influence that the theological debates on divine grace have exercised on the evolution of Dante’s reflection on the relationship between nobility of the soul and natural predisposition, from the Vita nuova to the Commedia. If in his youthful work, commenting the sonnet Negli occhi porta la mia donna amore, Dante had attributed to Beatrice the ability to «induce Love in potentiality where he is not» (Vn. 12, 6) - an ability that Augustine’s doctrine of grace had (...) reserved to God -, in Le dolci rime d’amor and, above all, in the IV book of the Convivio, Dante affirms, with Guinizelli, the essential correlation between a «gentle heart» and love, that is to say the necessity of a natural predisposition for the purpose of possessing nobility, i. e. the divine «grace» (Cv. IV XX 7). Finally, in the Commedia, the poet returns to freeing God’s gift from any preventive natural disposition, as demonstrated not only by the repeated references to the twins Jacob and Esau, destined to opposite fates by virtue of the «grace» with which God «at his own pleasure endows each creature differently» (Pd. XXXII, vv. 65-6), but also by the XXX canto of Purgatorio, where Dante no longer appears uncertain whether to attribute his genius to a «good star» or to «a better thing» (If. XXVI, vv. 21-24), but clearly affirms its dependence on the «largess of celestial graces» (v. 112). (shrink)

Издание содержит: Российская власть, общество и право в контексте исторических изменений и реформ, вмененности российского сознания, практики возобновляемой культуры.

Respecto del pasaje en cuestión (Verg. Ecl. 9. 44-55), la tradición manuscrita no se muestra uniforme: la mayor parte de los MSS asignan los vv. 46-50 a Meris; algunos pocos (M y γ) los asignan a Lícidas. El artículo aporta fundamentación en favor de la atribución de esos versos a Lícidas; repasa diversas soluciones adoptadas en ediciones y comentarios recientes, incluyendo la última edición crítica (Ottaviano, 2013), en la que se adopta (equivocadamente, a nuestro criterio) la enmienda nisi en el (...) v. 45. A continuación, las cuatro evocaciones de canto realizadas por Lícidas y Meris son analizadas en el marco de dos oportunos señalamientos de Schmidt (1972): a. el particular concepto de ‘autoría’ que rige en la ficción de oralidad propia de la poesía bucólica; b. la relación que se establece en la égloga entre el contenido de esas evocaciones y las categorías de poeta y uates declaradas en los vv. 32-36. (shrink)

Recently, the scientific and journalistic heritage of A.Richynsky as an ideologist and organizer of the Ukrainian church-national movement in Volyn in the 20-30s of the XX century has attracted considerable attention of researchers. From this perspective, the most outstanding work of A.Richinsky's "Features of Ukrainian Religious Consciousness" is analyzed by scholars, though we admit that the theological and philosophical component in A.Richinsky's religious heritage remains almost unexplored. The article will trace the formation of A. Richinsky's teaching on the relationship between (...) the religious and ethnic in the Bible, in particular about the nation as established eternal reality. The basis for writing the article is the works of Arsen Rychinsky published in recent years. (shrink)

Silʹnee cheloveka -- Nishcheta filosofii -- Vlastʹ Rossii -- Pisatelʹ i literatura -- Nashe polozhenie -- Staret︠s︡ Tavrion -- Edinstvo very -- Rodosskai︠a︡ deklarat︠s︡ii︠a︡ -- Vera i kulʹtura -- Ėstetika Lʹva Tolstogo -- Puteshestvie v budushchee -- Neskolʹko obʺi︠a︡sneniĭ.