Enrico Palma
Sono Dottore di ricerca (XXXV ciclo) in Scienze dell’Interpretazione, con una tesi dal titolo «De Scriptura. Dolore e salvezza in Proust» (tutor: Prof. A.G. Biuso; coordinatore: Prof. A. Sichera), poi pubblicata per i tipi di Mimesis nel 2024.
Le mie aree di ricerca sono principalmente la filosofia teoretica e l’ermeneutica letteraria. Ho pubblicato saggi e articoli per riviste di filosofia, letteratura e fotografia.
Ho conseguito nel 2022 l'abilitazione all'insegnamento per la classe di concorso A019 (Filosofia e Storia).
Ho conseguito nel 2024 l'Abilitazione Scientifica Nazionale alle funzioni di Professore di II fascia nel settore di Filosofia Teoretica (11/C1).
Ho partecipato con la cura del volume «L’anima. ψυκή» alla collana «Greco. Lingua, storia e cultura di una grande civiltà» (2022/2023) del «Corriere della Sera» (curatori: Prof.ssa M. Centanni, Prof. P.B. Cipolla).
Sono fondatore e caporedattore della rivista culturale online «Il Pequod» (https://www.ilpequod.it/).
Le mie aree di ricerca sono principalmente la filosofia teoretica e l’ermeneutica letteraria. Ho pubblicato saggi e articoli per riviste di filosofia, letteratura e fotografia.
Ho conseguito nel 2022 l'abilitazione all'insegnamento per la classe di concorso A019 (Filosofia e Storia).
Ho conseguito nel 2024 l'Abilitazione Scientifica Nazionale alle funzioni di Professore di II fascia nel settore di Filosofia Teoretica (11/C1).
Ho partecipato con la cura del volume «L’anima. ψυκή» alla collana «Greco. Lingua, storia e cultura di una grande civiltà» (2022/2023) del «Corriere della Sera» (curatori: Prof.ssa M. Centanni, Prof. P.B. Cipolla).
Sono fondatore e caporedattore della rivista culturale online «Il Pequod» (https://www.ilpequod.it/).
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Books by Enrico Palma
In questo volume parleremo dell’anima, della morte, dell’immortalità e della rappresentazione dell’aldilà nella cultura e letteratura greca, dai filosofi orfici a Platone, da Omero ai poeti tragici. Approfondiremo i comparativi e i superlativi dell’aggettivo, proseguendo infine nella conoscenza degli usi del participio, soffermandoci sul cosiddetto participio congiunto, che in greco trova ampio impiego e svolge le funzioni di vari tipi di proposizione subordinata.
Teoresi e Metafisica by Enrico Palma
According to some philosophical-religious perspectives, human being has fallen from a perfect original dimension which we can make correspond to the material cosmos and the becoming of entities, events and processes, but more particularly to the sacred. The present contribution, dealing with some writers and philosophers – Kundera, Otto, Jankélévitch, Cioran, Freud, Biuso – tries to set up a theoretical reflection on a possible sacred feeling of life, a metaphysical recognition of human existence in the world, whose task is to question ourselves about the whole/ sacred, about the relational dynamics of being-human, about the possibility that knowledge can represent as the supreme grace of living.
This essay tries to articulate a reflection on the limit from a
metaphysical point of view, bringing out the co-implication of the concept of
limit with that of pain. In order for this relationship to be clarified, metaphysical
elucidations on time, temporality and the being of beings have become
necessary. Some of the main itineraries of the history of Western thought
are covered, from Plato to Heidegger, passing through some exponents of
contemporary Italian philosophy, with the aim of problematizing pain as
the most recognizable aspect of limit which guarantees entities to being and
which becomes suffering when associated with the particular entity that we
call human.
The essay attempts to articulate a reflection on the language-technique relationship, focusing in particular on the negative influence that technique determines on the linguistic essence of human. Our premise is that current times are an era of cultural and spiritual decline, as this linguistic essence is increasingly lacking. To discuss causes, origins and possible escape routes from this trap, here we try to decline a free dialogue with Heidegger's later work, mostly following this argumentation: the concealment of essence of entity carried out by technique; the relationship between word, technique and unveiling; the re-appropriation of entity and lost essence of human through an idea of science and knowledge that is absolutely not subjugated by contemporary technical deployment, which knows how to redeem language and listen to it again.
The essay intends to propose a reflection on the philosophical writing and style discussing Emil Cioran's thought, based mainly on the conversations and interviews in which the Franco-Romanian philosopher offered notable interpretative keys on this theme. With this contribution we attempt to articulate philosophical writing as a lógos which, starting from sensation, from life in the most direct way in which it is perceived, expresses existence, with the aim of freeing it from the evils that grip it.
The essay intends to articulate some theoretical lines on a possible way of understanding philosophy as writing. Starting from some fundamental hypotheses (Derrida, Ferraris), or from the assumption that writing precedes every form of possible knowledge, including philosophical knowledge, a historical-critical path is attempted, with the aim of outlining a perspective of philosophy of writing on the one hand as an original philosophy (archiphilosophy) and on the other as a privileged existential activity of the human through which to obtain serenity and redemption. To do this, some of the major philosophers who have developed a point of view on this question were discussed (Plato, Hadot, Hegel, Benjamin, Cioran, Proust), linking their reflections coherently with our objective and arriving at a theoretical proposal between metaphysics and existence: writing as appropriation of life, understanding, ultra-duration and redemption.
Il saggio tenta di articolare, ripercorrendo alcuni dei punti-chiave della speculazione di Emil Cioran, una riflessione teoretica sul nichilismo in quanto annullamento attivo di sé ed esercizio di rasserenamento esistenziale. Confrontarsi filosoficamente con il nulla pertiene certamente al pensiero della propria fine in quanto morire, ma in misura più rilevante all’analisi dell’esistenza attuale, nata, venuta alla luce, all’attività teoretica che indaga la realtà e il vivere in essa, alla ricerca delle strategie con cui comprendere e liberarsi dal dolore e dall’intollerabile. Un nichilismo, quindi, come negazione della vita per come la si conosce in vista di ciò che l’ha condannata e che può infine riscattarla.
Il contributo cerca di riflettere nel senso messianico di Adorno su alcuni tratti della filosofia della storia di Hegel e Benjamin messi in dialogo tra di loro.
The text proposes a theoretical perspective that draws upon two well-known essays by Walter Benjamin, Über Sprache überhaupt und über die Sprache des Menschen and Der Erzähler, discussing them critically and recognizing the preconditions for a metaphysical conceptualization of literature. Therefore, the article attempts to rethink certain themes dear to the Berlin philosopher and belonging to the Hebrew and Christian lexicon, so as to understand literature as the creature's metaphysical drive for redemption and its communication with God. The Narrator thus becomes the creature's mouthpiece and intercessor, aspiring to redemption and salvation through the literary work, in an eminently messianic and mystical sense.
The essay intends to propose some interpretative lines on La coscienza di Zeno, from a hermeneutical and a theoretical point of view. We will rely on the discussion of religious traces, especially the Gnostic ones, in the novel and on some experiences of salvation which, as we try to argue, will never be definitive. The result is a sketch of a philosophical point of view based on which every attempt of salvation in the world and among humans is impossible, writing is the only cure, and the only acceptable scenario is a messianic apocalypse that resolves the problem of health by dissolving health itself.
Starting from what seemed to us to be one of the distinctive existential conditions of our time, with Heidegger definable as existential negativity, the essay attempts to discuss from a philosophical, critical and hermeneutical point of view the forms of this not in some novels of Italian literature (Moravia) and French (Sartre, Camus). This survey intends to offer an insight into some states of mind that can be traced back, with Benjamin, to the description of the creaturely condition and the ways of redemption that can open up. Melancholy, boredom, indifference, nausea, domesticity, extraneousness and accusation have therefore risen to representative traits, of which a brief analysis is therefore proposed.
KEYWORDS: negativity, indifference, boredom, Moravia.
Il saggio propone un'analisi in chiave teoretica ed ermeneutica su alcune poesie di Emily Dickinson, tentando una riflessione sull'alterità all'indomani della pandemia.
This essay compares Ludwig Wittgenstein’s Tractatus logico-philosophicus with Paul Klee’s Grenzen des Verstandes to explore the respective work of philosophy and painting as mutually illuminating, as creative acts that project a clarifying light onto one another in the shared theoretical and artistic sensibilities of their authors. The last propositions of the Tractatus on the limits of language, of the utterable and of human understanding, provide insight into painting as an absolutely non-didactic modality. Meanwhile, Klee’s painting acts as a clarification of what is expressed in Wittgenstein’s philosophical work. The essay shows how both Wittgenstein and Klee have contributed to describing a mystical feeling of reality in an ineffable and unspeakable world that is expressed through the definition of limits in an existential praxis that projects feeling rather than understanding, action rather than knowing.
Il testo riporta una suggestione filosofica ed esistenziale su Berlino.
Il saggio propone una lettura filosofica del "De Profundis", capolavoro teoretico wildiano.
In questo volume parleremo dell’anima, della morte, dell’immortalità e della rappresentazione dell’aldilà nella cultura e letteratura greca, dai filosofi orfici a Platone, da Omero ai poeti tragici. Approfondiremo i comparativi e i superlativi dell’aggettivo, proseguendo infine nella conoscenza degli usi del participio, soffermandoci sul cosiddetto participio congiunto, che in greco trova ampio impiego e svolge le funzioni di vari tipi di proposizione subordinata.
According to some philosophical-religious perspectives, human being has fallen from a perfect original dimension which we can make correspond to the material cosmos and the becoming of entities, events and processes, but more particularly to the sacred. The present contribution, dealing with some writers and philosophers – Kundera, Otto, Jankélévitch, Cioran, Freud, Biuso – tries to set up a theoretical reflection on a possible sacred feeling of life, a metaphysical recognition of human existence in the world, whose task is to question ourselves about the whole/ sacred, about the relational dynamics of being-human, about the possibility that knowledge can represent as the supreme grace of living.
This essay tries to articulate a reflection on the limit from a
metaphysical point of view, bringing out the co-implication of the concept of
limit with that of pain. In order for this relationship to be clarified, metaphysical
elucidations on time, temporality and the being of beings have become
necessary. Some of the main itineraries of the history of Western thought
are covered, from Plato to Heidegger, passing through some exponents of
contemporary Italian philosophy, with the aim of problematizing pain as
the most recognizable aspect of limit which guarantees entities to being and
which becomes suffering when associated with the particular entity that we
call human.
The essay attempts to articulate a reflection on the language-technique relationship, focusing in particular on the negative influence that technique determines on the linguistic essence of human. Our premise is that current times are an era of cultural and spiritual decline, as this linguistic essence is increasingly lacking. To discuss causes, origins and possible escape routes from this trap, here we try to decline a free dialogue with Heidegger's later work, mostly following this argumentation: the concealment of essence of entity carried out by technique; the relationship between word, technique and unveiling; the re-appropriation of entity and lost essence of human through an idea of science and knowledge that is absolutely not subjugated by contemporary technical deployment, which knows how to redeem language and listen to it again.
The essay intends to propose a reflection on the philosophical writing and style discussing Emil Cioran's thought, based mainly on the conversations and interviews in which the Franco-Romanian philosopher offered notable interpretative keys on this theme. With this contribution we attempt to articulate philosophical writing as a lógos which, starting from sensation, from life in the most direct way in which it is perceived, expresses existence, with the aim of freeing it from the evils that grip it.
The essay intends to articulate some theoretical lines on a possible way of understanding philosophy as writing. Starting from some fundamental hypotheses (Derrida, Ferraris), or from the assumption that writing precedes every form of possible knowledge, including philosophical knowledge, a historical-critical path is attempted, with the aim of outlining a perspective of philosophy of writing on the one hand as an original philosophy (archiphilosophy) and on the other as a privileged existential activity of the human through which to obtain serenity and redemption. To do this, some of the major philosophers who have developed a point of view on this question were discussed (Plato, Hadot, Hegel, Benjamin, Cioran, Proust), linking their reflections coherently with our objective and arriving at a theoretical proposal between metaphysics and existence: writing as appropriation of life, understanding, ultra-duration and redemption.
Il saggio tenta di articolare, ripercorrendo alcuni dei punti-chiave della speculazione di Emil Cioran, una riflessione teoretica sul nichilismo in quanto annullamento attivo di sé ed esercizio di rasserenamento esistenziale. Confrontarsi filosoficamente con il nulla pertiene certamente al pensiero della propria fine in quanto morire, ma in misura più rilevante all’analisi dell’esistenza attuale, nata, venuta alla luce, all’attività teoretica che indaga la realtà e il vivere in essa, alla ricerca delle strategie con cui comprendere e liberarsi dal dolore e dall’intollerabile. Un nichilismo, quindi, come negazione della vita per come la si conosce in vista di ciò che l’ha condannata e che può infine riscattarla.
Il contributo cerca di riflettere nel senso messianico di Adorno su alcuni tratti della filosofia della storia di Hegel e Benjamin messi in dialogo tra di loro.
The text proposes a theoretical perspective that draws upon two well-known essays by Walter Benjamin, Über Sprache überhaupt und über die Sprache des Menschen and Der Erzähler, discussing them critically and recognizing the preconditions for a metaphysical conceptualization of literature. Therefore, the article attempts to rethink certain themes dear to the Berlin philosopher and belonging to the Hebrew and Christian lexicon, so as to understand literature as the creature's metaphysical drive for redemption and its communication with God. The Narrator thus becomes the creature's mouthpiece and intercessor, aspiring to redemption and salvation through the literary work, in an eminently messianic and mystical sense.
The essay intends to propose some interpretative lines on La coscienza di Zeno, from a hermeneutical and a theoretical point of view. We will rely on the discussion of religious traces, especially the Gnostic ones, in the novel and on some experiences of salvation which, as we try to argue, will never be definitive. The result is a sketch of a philosophical point of view based on which every attempt of salvation in the world and among humans is impossible, writing is the only cure, and the only acceptable scenario is a messianic apocalypse that resolves the problem of health by dissolving health itself.
Starting from what seemed to us to be one of the distinctive existential conditions of our time, with Heidegger definable as existential negativity, the essay attempts to discuss from a philosophical, critical and hermeneutical point of view the forms of this not in some novels of Italian literature (Moravia) and French (Sartre, Camus). This survey intends to offer an insight into some states of mind that can be traced back, with Benjamin, to the description of the creaturely condition and the ways of redemption that can open up. Melancholy, boredom, indifference, nausea, domesticity, extraneousness and accusation have therefore risen to representative traits, of which a brief analysis is therefore proposed.
KEYWORDS: negativity, indifference, boredom, Moravia.
Il saggio propone un'analisi in chiave teoretica ed ermeneutica su alcune poesie di Emily Dickinson, tentando una riflessione sull'alterità all'indomani della pandemia.
This essay compares Ludwig Wittgenstein’s Tractatus logico-philosophicus with Paul Klee’s Grenzen des Verstandes to explore the respective work of philosophy and painting as mutually illuminating, as creative acts that project a clarifying light onto one another in the shared theoretical and artistic sensibilities of their authors. The last propositions of the Tractatus on the limits of language, of the utterable and of human understanding, provide insight into painting as an absolutely non-didactic modality. Meanwhile, Klee’s painting acts as a clarification of what is expressed in Wittgenstein’s philosophical work. The essay shows how both Wittgenstein and Klee have contributed to describing a mystical feeling of reality in an ineffable and unspeakable world that is expressed through the definition of limits in an existential praxis that projects feeling rather than understanding, action rather than knowing.
Il testo riporta una suggestione filosofica ed esistenziale su Berlino.
Il saggio propone una lettura filosofica del "De Profundis", capolavoro teoretico wildiano.
Il saggio cerca di sostenere un diverso punto di vista sulla cosiddetta sezione filosofica del Temps retrouvé, in particolare sulla questione del ricordo e della materia. Benché Proust non articoli una concettualizzazione rigorosa della jouissance e per certi aspetti essa rimanga anche abbastanza vaga, quella del parigino può intendersi come una filosofia della materia. Scopo di questo lavoro è allora quello di problematizzare l’argomentazione proustiana e di strutturare a partire da essa uno schema metafisico sull’essere come identità di tempo e materia.
This essay discusses the possibility of a parallelism between the Proustian masterpiece "À la recherche du temps perdu" and the philosophical works of Bergson. Its aim is to show that the theoretical similarities are so strong that it can be claimed that in Proust it is possible to speak about a metaphysics of pure time, encouraged and illuminated by Bergson’s theories about consciousness, memory, the act of remembering, the body, intuition, time and pure duration. By analysing Bergson’s great works, the article searches for a conceptualization of the aforementioned ideas in the Proustian Recherche. Here is proposed that in Proust there is a deep conatus towards what can be expressed à la Heidegger as the authenticity of existence, there- fore, at the end, the main result will be recognized in literature by telling ourselves in artistic form.
Il saggio tenta di articolare una proposta ermeneutica sulla Recherche come opera d’arte di appropriazione esistenziale (in senso heideggeriano) e di redenzione e salvezza attraverso la scrittura letteraria del tempo della vita, che senza arte sarebbe rimasto altrimenti tempo perduto e sprecato.
The essay discuss from a critical and philosophical point of view a particular episode in the third volume of the Recherche, Le Côté de Guermantes, the presentation by the friend Saint-Loup of his lover Rachel to the Narrator. In this occasion, more clearly than others, Proust shows the dynamic of love such as a force, a union and a result of imagination and suffering. At the end, it’s attempted a juxtaposition of the Proustian conceptualization with the genesis and the chronicle of one of Caravaggio’s most famous paintings, the Madonna di Loreto, with the intention to better explain the Proustian argumentation.
Il saggio suggerisce una lettura sui generis della teoresi letteraria proustiana confrontandola e discutendola alla luce dell'impianto teologico di von Balthasar.
Il saggio, in forma di omaggio a Proust per il centenario della sua morte, propone un dialogo filosofico con l'ultimo libro di Alessandro Piperno sullo scrittore francese.
Il saggio tenta un accostamento tra Kierkegaard e Proust, in vista della formulazione del passato esistenziale come luogo di libera trasfigurazione attraverso l'arte letteraria.
There is no doubt that in Sorrentino's La grande bellezza the presence of the Recherche is not only strong and constant, but also crucial to undertake an interpretative path aimed at a profound understanding of the film. Proust's name is frequently evoked, and the Proustian reader will see some expressions, jokes and episodes in the movie as very evident crypto-citations and references. So much so as to lead one to believe that the Proustian theory of redemption of lost/wasted time through the acquisition of the literary vocation is central to the structure and conceptualization of Sorrentino's work. The essay therefore intends to articulate an interpretative proposal that analyzes the Proustian substrate, bringing out the analogies and the congruences between the figures of the Proustian Narrator and that of Jep Gambardella. At the same time, as a flip side of the essay, an attempt will be made to build a hermeneutic hypothesis of the film, while guided by Proust, so that the two works can represent interpretative spotlights that focus on each other. In fact, the underlying hypothesis is that the deepest structure of La grande bellezza is precisely the Proustian one.
Il saggio tenta di rilevare e discutere le somiglianze e le sovrapposizioni tra i Misteri Eleusini e l'episodio risolutivo della «Recherche», il ricevimento finale presso la principessa di Guermantes.
The essay attempts to identify some Gnostic traces in the Proustian Recherche, analyzing essential parts of the text, such as the episode of the missed kiss by the mother and the final revelation at Guermantes's Palace, on the last and decisive matinée. What we intend to ascertain is the applicability of some categories of historical and ontological Gnosticism to the Proustian Book, in an interpretative proposal of which rejection of the world, asceticism, transfiguration of pain, illumination, ecstasy and nostalgia for an original light will be the strong concepts. We have therefore tried to show at the end that the transformation of pain and evil that permeate the world and life into art constitutes the primary ontological figure of Proustian writing and of the Recherche, as the creation of a literary work that lay in our self and that it could only reveal itself under certain conditions. Literature, as well as the whole Proustian itinerary, is therefore articulated as the abode and privileged human activity with which to redeem and save existence.
Il saggio cerca di attraversare l'opera di Walter Benjamin nel tentativo di interrogare le relazioni tra i concetti di invisibilità e narrazione.
In this essay I try to compare the hermeneutic and theoretical proposals by Walter Benjamin and Carl Schmitt, in particular concerning theatre, history and salvation. Primarily, will be discussed the relationship between the two authors, and then attempt to problematize very huge questions like the relation history-art and, following Schmitt, the influence of history in the drama. Our aim, finally, is to argue the figure of king (as Benjamin did in terms of highest representation of post-edenic human condition) trying to applicate these concepts to the particular case of Hamlet, in terms of political philosophy and esthetic redemption of creature towards art.
Il saggio tenta un percorso interpretativo all’interno di una delle opere più complesse e decisive della storia della filosofia e dell’estetica del Novecento, l’Ursprung des deutschen Trauerspiels di Walter Benjamin. L’obiettivo sarà quello di isolare e discutere alcuni concetti, come quelli di creatura, colpa, destino, morte, redenzione e salvezza, grazie ai quali intendere l’opera benjaminiana come l’articolazione di una concezione estetico-metafisica, in cui viene mostrata la condizione umana alla luce dell’ermeneutica bi- blica del filosofo berlinese e la possibilità del riscatto creaturale attraverso l’arte e l’opera critico-filosofica – appunto il Trauerspielsbuch stesso – che risolleva in una costellazione ideale l’umano decaduto.
The essay attempts an interpretative path within one of the most complex and decisive works in the history of philosophy and aesthetics of the twentieth century, Walter Benjamin’s Ursprung des deutschen Trauerspiels. The goal will be to isolate and discuss some concepts, such as those of creature, guilt, destiny, death, redemption and salvation, thanks to which to understand Ben jamin’s work as the articulation of an aestheticmetaphysical conception, in which the human condition is shown in the light of the biblical hermeneutics of the Berlin philosopher and the possibility of creatural redemption through art and the criticalphilosophical work – precisely the Trauerspielsbuch it self – which raises the fallen human into an ideal constellation.
Abstract: il saggio propone una suggestione critico-teoretica su una possibile convergenza testuale tra due brani, rispettivamente di Marcel Proust (dal Temps retrouvé) e di Walter Benjamin (dalle Geschichtsphilosophische Thesen), tentando di individuare i tratti in comune e di suggerire un tracciato ermeneutico utile a illuminare sia l’uno che l’altro autore. Dopo un commento di entrambi i testi e dei motivi della loro similarità, l’obiettivo sarà dunque di discutere la plausibilità della riproposizione di una frase e di un concetto proustiani in Benjamin, di articolare un’interpretazione comune facendo emergere gli influssi dello scrittore sul filosofo e di declinare la proposta di una metafisica della redenzione a partire dal riscatto del tempo perduto e della storia.
Abstract (English): the essay proposes a critical-theoretical suggestion on a possible textual convergence between two passages respectively by Marcel Proust (from the Temps retrouvé) and Walter Benjamin (from the Geschichtsphilosophische Thesen), trying to identify the common traits and to suggest a hermeneutic outline useful to enlighten both authors. After a comment on both texts and the reasons for their similarity, the objective therefore will be to discuss the plausibility of the repurposing of a Proustian phrase and concept in Benjamin, to articulate a common interpretation that emerges by influencing the writer on the philosopher and to decline the proposal for a metaphysics of rescue starting from redemption of lost time and history.
Il saggio intende discutere alcuni temi molto cari alla filosofia di Walter Benjamin, il passato e l’aspirazione alla felicità, soprattutto nel modo in cui sono stati articolati nelle atipiche ma non per questo meno importati opere letterarie, con particolare riferimento alla Berliner Kindheit, alla Einbahnstraße e alle Städtebilder. L’idea del filosofo berlinese è che attraverso la scrittura si riescano a individuare e a sprigionare le possibilità inespresse del passato. Per Benjamin, come sarà evidente nelle celebri tesi Über den Begriff der Geschichte, il passato merita ascolto e richiama fortemente a essere riscattato, affinché il futuro che in esso poteva dischiudersi, ma che non ha trovato realizzazione, possa avere ancora un ruolo importante per la redenzione. Per far ciò, sarà utile ripercorrere alcuni brani benjaminiani, tenendo conto dell’indicazione ermeneutica di Szondi e tratteggiando un confronto possibile con l’opera proustiana.
The purpose of this essay is to analyse Pavese's novel The Political Prisoner in a philosophical-hermeneutic key. It intends to show how Pavese traces an existential phenomenology (albeit anomalous respect to common experience) of life in prison, which brings to light some philosophical categories that mark living in freedom and in prison. Nevertheless the suspension, bewilderment and precariousness of life in prison show some of the essential elements that make existence worthy and authentic. In The Political Prisoner, it is as if we see the negativeness of life itself, a great cosmic metaphor which Pavese reflects on and gives some solutions to.
Il saggio propone un confronto sui temi della memoria, della scrittura, del mito e della temporalità tra Pavese e Proust.
The essay intends to discuss, from a theoretical and hermeneutical point of view, the novel "A Little Life" by Hanya Yanagihara, focusing on a fundamental idea: care, more particularly in its active meaning of being-for-the-care. The main character of Jude St. Francis and the network of trust that spreads around to support him in life exemplify this aspect of care, a horizon that cannot be ignored in order to continue to exist and to redeem existential limit.
Il saggio affronta con taglio filosofico il carteggio tra Franz Kafka e Felice Bauer, concentrandosi sul concetto di "inter-scrittura".
Il testo si propone di discutere da un punto di vista filosofico la presenza della prassi all’interno dell’opera vermeeriana. Ogni quadro di Vermeer, difatti, è la rappresentazione concettuale di un gesto che racchiude un’intera azione. In tal senso, il gesto funge da sospensione dell’azione e accumulazione della prassi. Vermeer, rappresentando un gesto carico di azione, preleva la prassi dal divenire e la consegna al senza tempo dell’arte, dell’idea, in cui l’esistenza può ottenere serenità e riscatto, i quali sono i sentimenti che l’osservatore prova dinanzi alla sua arte.
Il saggio propone una riflessione teoretica ed ermeneutica sul film di Paul Thomas Anderson con Daniel Day-Lewis protagonista.
Il saggio propone una lettura filosofica della celebre novella verghiana "La roba".
L'articolo propone una breve riflessione sulle recenti raccolte dei due poeti catanesi Pietro Cagni e Pietro Russo
Il testo tenta una riflessione in chiave filosofica ed ermeneutica della poesia «Lungo il fiume» di Luzi.
Il saggio tenta un'analisi in chiave ermeneutica, filosofica e comparatistica del romanzo di Bufalino «Argo il cieco».
Il saggio tenta una riflessione sulla contemporaneità partendo da un'analisi delle serie-tv con un approccio benjaminiano e in chiave critico-filosofica.
10 ottobre 2022, h. 16.00 | Auditorium G. De Carlo, Ex Monastero dei Benettini, Piazza Dante, 32, Catania.
Interverranno i curatori: Monica Centanni e Paolo B. Cipolla. Saranno presenti gli autori della collana docenti e studiosi del DISUM: Loredana Cardullo, Concetta Cataldo, Giovanna Giardina, Daniele Iozzia,
Annalisa Lavoro, Orazio Licandro, Enrico Palma.
Introduce: Marina Paino (Direttrice del DISUM).