Editoriale: abitudine e letteratura

Starting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory. This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature.Starting from antiquity, the concept of habit has traversed the entire history of Western philosophy and has represented one of the great themes of modern and contemporary literature. The reflection on habit has raised questions concerning the relationship between body and mind, the problem of time and the (re)construction of identity, the conscious and the unconscious, and the role of memory. This dossier addresses these questions from an aesthetic perspective, at the crossroads between the history of philosophy and the history of literature

The Silent Animals. Loving and Staging Animals in Jean Baudrillard’s Thought

In this paper, George P. Pefanis discusses the presence of animals on stage from the perspective of French philosopher Jean Baudrillard. Baudrillard examines animality in relation to reason and the division between humans and non-humans. He presents four broad categories based on their relationship to humans. This article analyses the Baudrillardian concept of ‘somatisation’, which includes both the corporeality and physical vulnerability of animals, as well as certain psychic traits. The article explores the sentimentality projected onto animals and the implied superiority of humans in such sentimentality. Additionally, it enquires how the principles of ‘love for animals’ can be integrated into a performance featuring animals on stage from an ethical and ontological perspective. To support this discussion, the paper examines two examples of performances: ‘Embracing Animal’ by American artist Kathy High and ‘The Other’ by American artist Rachel Rosenthal.In this paper, George P. Pefanis discusses the presence of animals on stage from the perspective of French philosopher Jean Baudrillard. Baudrillard examines animality in relation to reason and the division between humans and non-humans. He presents four broad categories based on their relationship to humans. This article analyses the Baudrillardian concept of ‘somatisation’, which includes both the corporeality and physical vulnerability of animals, as well as certain psychic traits. The article explores the sentimentality projected onto animals and the implied superiority of humans in such sentimentality. Additionally, it enquires how the principles of ‘love for animals’ can be integrated into a performance featuring animals on stage from an ethical and ontological perspective. To support this discussion, the paper examines two examples of performances: ‘Embracing Animal’ by American artist Kathy High and ‘The Other’ by American artist Rachel Rosenthal

Corpo, mimesi e montaggio nella produzione di Pippo Delbono

Delbono’s production lends itself effectively and almost emblematically to a reflection on the active character of mimesis because it is characterized by a sort of duplicity: both his cinema and his theatre are marked by an apparently documentary or performative manner, a flagrantness and immediacy that allude to the presence, to the being of the actor “here and now” – a here and now expressed differently in cinema and theatre – without however being reduced to a purely testimonial attitude. Pippo Delbono’s entire life and performing arts journey can be read in the light of an incessant montage practice. In this sense, montage is the most vital manifestation of active mimesis as a conditio humana.Delbono’s production lends itself effectively and almost emblematically to a reflection on the active character of mimesis because it is characterized by a sort of duplicity: both his cinema and his theatre are marked by an apparently documentary or performative manner, a flagrantness and immediacy that allude to the presence, to the being of the actor “here and now” – a here and now expressed differently in cinema and theatre – without however being reduced to a purely testimonial attitude. Pippo Delbono’s entire life and performing arts journey can be read in the light of an incessant montage practice. In this sense, montage is the most vital manifestation of active mimesis as a conditio humana

What is real in hyperrealism? Pictorial representation and layers of the visible

American hyperrealist painting is one of the most famous phenomena of American culture in general, but also one of the most difficult to fit into the art-historical canon. Hyperrealism causes difficulties in interpretation because it is placed between traditional mimetic painting skills and the imaginary of American popular culture. In this article, we will suggest that hyperrealism may be evaluated as primarily a philosophical problem of the understanding of reality and its transformation into a pictorial surface. We will try to foreground the neglected possibility that the “excess of the real” in a painting can be in some allegorical function: as the opposite of reality, in other words, as an absence rather than a presence. Moreover, we will point out the twofold contingency of the hyperrealist pictures: as a philosophical platform for the study of pictorial representation on the one hand and as an evidence that there is no universal theory of pictorial depiction that would establish a connection between extra-pictorial reality and representation on the other. The article will analyze why hyperrealism as an artistic style is not crucially defined by the problem of mimesis, but rather by the problem of (dis)continuity in regard to reality. Instead of asking why hyperrealist paintings are so close to human perception of the world, we try to unveil consequences of its playing on the edges of complex systems such as representation, depiction, similarity, imagination, simulation and recognition. Referring to the aspects of reality in painting, photography and conceptual art we will consider to what extent theory can influence a seemingly straightforward artistic phenomenon to gain a different kind of relevance, while providing insights into the possibilities of viewing hyperrealist paintings as both part of the cultural imaginary and philosophical objects.American hyperrealist painting is one of the most famous phenomena of American culture in general, but also one of the most difficult to fit into the art-historical canon. Hyperrealism causes difficulties in interpretation because it is placed between traditional mimetic painting skills and the imaginary of American popular culture. In this article, we will suggest that hyperrealism may be evaluated as primarily a philosophical problem of the understanding of reality and its transformation into a pictorial surface. We will try to foreground the neglected possibility that the “excess of the real” in a painting can be in some allegorical function: as the opposite of reality, in other words, as an absence rather than a presence. Moreover, we will point out the twofold contingency of the hyperrealist pictures: as a philosophical platform for the study of pictorial representation on the one hand and as an evidence that there is no universal theory of pictorial depiction that would establish a connection between extra-pictorial reality and representation on the other. The article will analyze why hyperrealism as an artistic style is not crucially defined by the problem of mimesis, but rather by the problem of (dis)continuity in regard to reality. Instead of asking why hyperrealist paintings are so close to human perception of the world, we try to unveil consequences of its playing on the edges of complex systems such as representation, depiction, similarity, imagination, simulation and recognition. Referring to the aspects of reality in painting, photography and conceptual art we will consider to what extent theory can influence a seemingly straightforward artistic phenomenon to gain a different kind of relevance, while providing insights into the possibilities of viewing hyperrealist paintings as both part of the cultural imaginary and philosophical objects

The Homo mimeticus and the need for a mimetic turn. Interview with Nidesh Lawtoo

The present interview with Nidesh Lawtoo (lecturer at the University of Lausanne, Johns Hopkins University and KU Leuven and holder of the ERC project re-titled Homo Mimeticus: Theory and Criticism from 2017 to 2022) wants to highlight the “broad” and “complex” character of mimesis. The guiding idea is that mimesis – understood not simply as a copy or representation of reality but rather as a drive that leads humans to imitate other humans – provides us with a rich, wide-ranging, and paradoxically original perspective to knowing ourselves better. Thus, in a constant confrontation with the Greek roots of the term and the reflections of some modern and contemporary philosophers, the interview intends to clarify the scope and breadth of that mimetic turn proposed by Lawtoo in contemporary aesthetical debate.The present interview with Nidesh Lawtoo (lecturer at the University of Lausanne, Johns Hopkins University and KU Leuven and holder of the ERC project re-titled Homo Mimeticus: Theory and Criticism from 2017 to 2022) wants to highlight the “broad” and “complex” character of mimesis. The guiding idea is that mimesis – understood not simply as a copy or representation of reality but rather as a drive that leads humans to imitate other humans – provides us with a rich, wide-ranging, and paradoxically original perspective to knowing ourselves better. Thus, in a constant confrontation with the Greek roots of the term and the reflections of some modern and contemporary philosophers, the interview intends to clarify the scope and breadth of that mimetic turn proposed by Lawtoo in contemporary aesthetical debate

Il fallimento di una vita inabituale: Henry James e la costruzione della «nostra eroina» Isabel Archer

This article aims to raise crucial aspects of the philosophy of habit found in late 19th-century literature, particularly through an examination of Henry James’ portrayal of his character Isabel Archer. This goal is pursued through the analysis of two interconnected aspects forming the theoretical core of this contribution. Firstly, the focus is on Isabel Archer’s psychological depiction as a fundamental contribution of the English and American literature on the theme of habit, especially during the latter half of the 19th century. By contextualizing James’ work, exploring links to Peirce’s pragmatist philosophy and habit theory, the centrality of habit reflection in the psychological structuring of characters, interwoven with philosophical and narrative theories of individuality, is revealed. Furthermore, this reflection provides interpretative keys to understanding Henry James’ narrative choices concerning Isabel’s fate in the novel. Then this article directly specifically examines the construction of Isabel’s self which unfolds through the entire narrative events. The interpretative hypothesis guiding the investigation focuses on the connection between Isabel’s attempts to conduct life without habit and the resulting errors in judgment. To support this hypothesis, the importance of comparing key characters such as Gilbert Osmond and Madame Merle is highlighted. Through the narrative, it will emerge a peculiar ontological structure of the concept of habit. Moreover, through the psychological portraits in the novel, a critical exploration of James’ idea of individuality arises — acknowledging social dynamics and the ontological force of habit, rejecting the dichotomy represented by an optimistic individualism and a degenerate conventional life. The conclusion asserts that Isabel’s pursuit of an unhabitual life inevitably leads to failure. The solution does not lie in a rigid, conventional, dichotomous view of habit. Instead, James argues for a dynamic, relational view of habit: a fundamental aspect of being that must be acknowledged to understand the mechanisms that lead us from the variety of possibilities to the limited “actualities” of life. Through these two interrelated perspectives, the article aims to illuminate the psychological depth of Isabel Archer’s character, demonstrating how her story represents a cornerstone in the broader discussion of the nature and evolution of habit in 19th- century literature. From that, it sets the stage for a more comprehensive discussion on habit’s role in shaping characters and narratives during this historical period.This article aims to raise crucial aspects of the philosophy of habit found in late 19th-century literature, particularly through an examination of Henry James’ portrayal of his character Isabel Archer. This goal is pursued through the analysis of two interconnected aspects forming the theoretical core of this contribution. Firstly, the focus is on Isabel Archer’s psychological depiction as a fundamental contribution of the English and American literature on the theme of habit, especially during the latter half of the 19th century. By contextualizing James’ work, exploring links to Peirce’s pragmatist philosophy and habit theory, the centrality of habit reflection in the psychological structuring of characters, interwoven with philosophical and narrative theories of individuality, is revealed. Furthermore, this reflection provides interpretative keys to understanding Henry James’ narrative choices concerning Isabel’s fate in the novel. Then this article directly specifically examines the construction of Isabel’s self which unfolds through the entire narrative events. The interpretative hypothesis guiding the investigation focuses on the connection between Isabel’s attempts to conduct life without habit and the resulting errors in judgment. To support this hypothesis, the importance of comparing key characters such as Gilbert Osmond and Madame Merle is highlighted. Through the narrative, it will emerge a peculiar ontological structure of the concept of habit. Moreover, through the psychological portraits in the novel, a critical exploration of James’ idea of individuality arises — acknowledging social dynamics and the ontological force of habit, rejecting the dichotomy represented by an optimistic individualism and a degenerate conventional life. The conclusion asserts that Isabel’s pursuit of an unhabitual life inevitably leads to failure. The solution does not lie in a rigid, conventional, dichotomous view of habit. Instead, James argues for a dynamic, relational view of habit: a fundamental aspect of being that must be acknowledged to understand the mechanisms that lead us from the variety of possibilities to the limited “actualities” of life. Through these two interrelated perspectives, the article aims to illuminate the psychological depth of Isabel Archer’s character, demonstrating how her story represents a cornerstone in the broader discussion of the nature and evolution of habit in 19th- century literature. From that, it sets the stage for a more comprehensive discussion on habit’s role in shaping characters and narratives during this historical period

Editoriale: Mimesis come conditio humana

The concept of mimesis originates in the Greek context in the 5th century BC, and since then, it has been at the heart of Western aesthetic reflection. It finds its best-known formulation in the Aristotelian affirmation that “art imitates nature”; however, as C. Wulf has emphasised, the mimetic faculty plays a role not only in the art domain but also in almost all areas of human action, representation, speech and thought:mimesisis aconditio humana. Thus, alongside the passive-imitative meaning of mimesis, we can also identify an active meaning of the term since it indicates a process that leads us to encounter external reality aesthetically and to reproduce its traits creatively, even in our bodies. The topicality of the question lies in this complexity, which connects mimesis not only to the terms of imitation but also to those of individual plasticity and autopoiesis.The concept of mimesis originates in the Greek context in the 5th century BC, and since then, it has been at the heart of Western aesthetic reflection. It finds its best-known formulation in the Aristotelian affirmation that “art imitates nature”; however, as C. Wulf has emphasised, the mimetic faculty plays a role not only in the art domain but also in almost all areas of human action, representation, speech and thought:mimesisis aconditio humana. Thus, alongside the passive-imitative meaning of mimesis, we can also identify an active meaning of the term since it indicates a process that leads us to encounter external reality aesthetically and to reproduce its traits creatively, even in our bodies. The topicality of the question lies in this complexity, which connects mimesis not only to the terms of imitation but also to those of individual plasticity and autopoiesis

Kandinsky and Bergson: Between form and Sense. A Phenomenological view

The mode of evolution from figurative to abstract and from abstract to concrete in Kandinsky’s work seems to follow the path of a Bersonianan creative evolution. From the first melodic paintings to the explosion of his improvisations, the aesthetic material contracts and condenses itself in a pure shape with no connections with the representativeness. This eidetic shape is also the result of a phenomenological approach and analysis, revealing correlating meanings in an interesting living time of perception. Oscillations between shape and content, color and sound in resonance space will become for Kandisnky scope for the constitution of a possible aesthetic phenomenological experience, that looks for unveiled qualities. For Kandinsky and Bergson the quality in which an element contracts or thickens itself is in fact a new spiritualized value. Kandinsky looks for a real intense time of perception, of creation, of fruition that finds in the real movement and the Bergsonian durée réelle his theoretical confirmation. At the same time his creative act seems to be able to fit into the dual modality of Bergsonianan life of consciusness: frist like an élan vital and explosive action of abstract expressionism and subsequently as a work of qualitative contraction and condensation of vibrations that create a new kind of material. Tensions for the philosopher and the painter are the material established to ensure continuity between real and ideal. The experience in the field of sensibility for Kandinsky follows the paths of intuition and intelligence in the dual Bergsonian modality of a double vital and evolutionary movement : listening the melodic curvature of soul that exposes and explodes sense and forms and  contracting itself in a rhythmic tension of Bergsonianan durée, so that tension will be an orchestral partiture where the flow could be read. The aesthetic object presents itself as a movement towards the fullness of a eidetic unity, paying attention to its morphogenetic movement towards the possibility to take shape of that movement. In fact, the artist’s gaze is a grasp on the movements of being, it is a gaze that doesn’t leave the movement of Sense, and like music tends to guarantee its continuity, The flow that he follows is the flow of music that he tries to become more and more concrete. The form of the Sense is instead correlation of contracted quality understood as expressive density, like a quantum. Sense and form objectify themself to create abstract art. Shape that can condense a flow of a special time of consciousness letting move its inner sound and contracting and diluting itself in a vectorial sense that can orchestrate forms and write scores. Sense insinuates itself into material and the same material reveals, redefines, redirects. The Sense of the form is pure quality in progression, vibranting eternity in the first expressionism period, and expressive density in the following Bauhaus period until it becomes an organic complete unveiling resonant shape. Unveiling qualities flow as a bridge between spirit and material, speaking about a deep interesting space-time that suggests a hidden and special physics of soul. The bridge that can reveal and connects possible inner worlds is a space-time experience of a living inner time of perception that make sense in the music. Space and time vibrate and grow in rhythmic resonance until becoming an organon, a pure body. Space time will become correlation and redefinition scope of essence, form and soul.The mode of evolution from figurative to abstract and from abstract to concrete in Kandinsky’s work seems to follow the path of a Bersonianan creative evolution. From the first melodic paintings to the explosion of his improvisations, the aesthetic material contracts and condenses itself in a pure shape with no connections with the representativeness. This eidetic shape is also the result of a phenomenological approach and analysis, revealing correlating meanings in an interesting living time of perception. Oscillations between shape and content, color and sound in resonance space will become for Kandisnky scope for the constitution of a possible aesthetic phenomenological experience, that looks for unveiled qualities. For Kandinsky and Bergson the quality in which an element contracts or thickens itself is in fact a new spiritualized value. Kandinsky looks for a real intense time of perception, of creation, of fruition that finds in the real movement and the Bergsonian durée réelle his theoretical confirmation. At the same time his creative act seems to be able to fit into the dual modality of Bergsonianan life of consciusness: frist like an élan vital and explosive action of abstract expressionism and subsequently as a work of qualitative contraction and condensation of vibrations that create a new kind of material. Tensions for the philosopher and the painter are the material established to ensure continuity between real and ideal. The experience in the field of sensibility for Kandinsky follows the paths of intuition and intelligence in the dual Bergsonian modality of a double vital and evolutionary movement : listening the melodic curvature of soul that exposes and explodes sense and forms and  contracting itself in a rhythmic tension of Bergsonianan durée, so that tension will be an orchestral partiture where the flow could be read. The aesthetic object presents itself as a movement towards the fullness of a eidetic unity, paying attention to its morphogenetic movement towards the possibility to take shape of that movement. In fact, the artist’s gaze is a grasp on the movements of being, it is a gaze that doesn’t leave the movement of Sense, and like music tends to guarantee its continuity, The flow that he follows is the flow of music that he tries to become more and more concrete. The form of the Sense is instead correlation of contracted quality understood as expressive density, like a quantum. Sense and form objectify themself to create abstract art. Shape that can condense a flow of a special time of consciousness letting move its inner sound and contracting and diluting itself in a vectorial sense that can orchestrate forms and write scores. Sense insinuates itself into material and the same material reveals, redefines, redirects. The Sense of the form is pure quality in progression, vibranting eternity in the first expressionism period, and expressive density in the following Bauhaus period until it becomes an organic complete unveiling resonant shape. Unveiling qualities flow as a bridge between spirit and material, speaking about a deep interesting space-time that suggests a hidden and special physics of soul. The bridge that can reveal and connects possible inner worlds is a space-time experience of a living inner time of perception that make sense in the music. Space and time vibrate and grow in rhythmic resonance until becoming an organon, a pure body. Space time will become correlation and redefinition scope of essence, form and soul

Distrarsi: abitudine storico-naturale?

This article delves into the phenomenon of distraction as a cluster of habits that underlies the nervous lives of literary modernity and holds a potentially counter-canonical conceptual significance by haunting daily and scientific practices like reading. On one hand, these habits of distraction could be considered as a part, perhaps even the common denominator of those highly routinized activities that may constitute the natural history of the human forms of life. On the other hand, they may serve as a lever to rethink the natural-historical conceptual tradition itself. Starting with an analysis of the thematic and methodological literary relevance of this phenomenological area in Moravia’s major existentialist novels, this article will further explore its philosophical and anthropological importance by contrasting De Martino’s interpretation of Moravia and Benjamin’s idle materialism with Gehlen’s concept of “second nature” as based on James’s psychology and Heidegger’s stigmatization of everyday life as inauthentic.This article delves into the phenomenon of distraction as a cluster of habits that underlies the nervous lives of literary modernity and holds a potentially counter-canonical conceptual significance by haunting daily and scientific practices like reading. On one hand, these habits of distraction could be considered as a part, perhaps even the common denominator of those highly routinized activities that may constitute the natural history of the human forms of life. On the other hand, they may serve as a lever to rethink the natural-historical conceptual tradition itself. Starting with an analysis of the thematic and methodological literary relevance of this phenomenological area in Moravia’s major existentialist novels, this article will further explore its philosophical and anthropological importance by contrasting De Martino’s interpretation of Moravia and Benjamin’s idle materialism with Gehlen’s concept of “second nature” as based on James’s psychology and Heidegger’s stigmatization of everyday life as inauthentic

Il ruolo dell’abitudine nella costruzione dell’identità morale in The Mill on the Floss e Middlemarch di George Eliot

What is the boundary between unconscious habits and conscious actions? This is the question that drives all of George Eliot’s poetics centered on the importance of habit in the construction of her characters’ moral identity. The aim of this article is to analyze the author’s answers in this regard through two of her formidable novels: The Mill on the Floss and Middlemarch. In the first work, recovering the image, of philosophical- psychological origin, of the mind as a channel and making use of the analogies between animal and human behavior, Eliot proposes imaginative experience as a means of developing new cognitive capacities. But it is in Middlemarch that Eliot adds a further piece: unhinging the misogynistic prejudices attached to the concept of habit typical of the strongly patriarchal culture of the Victorian age. Pointing her satirical pen at the habits of her characters, Eliot invites readers to a critical attitude toward their own habits. Reading thus becomes an opportunity to reflect on our pervasive habits and achieve that gradual change towards the construction of a more mature and conscious moral identity.What is the boundary between unconscious habits and conscious actions? This is the question that drives all of George Eliot’s poetics centered on the importance of habit in the construction of her characters’ moral identity. The aim of this article is to analyze the author’s answers in this regard through two of her formidable novels: The Mill on the Floss and Middlemarch. In the first work, recovering the image, of philosophical- psychological origin, of the mind as a channel and making use of the analogies between animal and human behavior, Eliot proposes imaginative experience as a means of developing new cognitive capacities. But it is in Middlemarch that Eliot adds a further piece: unhinging the misogynistic prejudices attached to the concept of habit typical of the strongly patriarchal culture of the Victorian age. Pointing her satirical pen at the habits of her characters, Eliot invites readers to a critical attitude toward their own habits. Reading thus becomes an opportunity to reflect on our pervasive habits and achieve that gradual change towards the construction of a more mature and conscious moral identity