Zabarella, Jacopo

Jacopo Zabarella (1553–1589) is considered one of the most acute and brilliant logicians of all time. He made an important contribution to the interpretation of Aristotle and developed original ideas especially in the field of logic and epistemology, opening up the pathway of early modern science

Il Socrate Veneziano: Trifon Gabriele. Tre scritti filosofici

The paper explores Trifon Gabriele’s philosophical works : (1) Espositione sopra li versi del vi. di Virgilio. Principio caelum, ac terras ; (2) Del flusso, et reflusso del mare ; (3) La spheretta. All these writings focus on meteorology and their analysis shows the complex intellectual figure of Gabriele and his multiplicity of interests. Gabriele develops a form of eclectic philosophy that can not be understood or within Platonism nor within Aristotelianism. His eclectic perspective was peculiar of the cultural milieus outside the university, as the academies, which were more open to the contamination of various philosophical traditions

Kant's Philosophy of the Unconscious

In the 20th century, the role of the unconscious in Kant`s philosophy has been in great part neglected by Kant scholars. Nevertheless, the unconscious, the other of consciousness, is a key problem of the critical philosophy. The purpose of the volume is to fill a substantial gap in Kant research and to offer a complete survey of the topic in different areas of research, such as history of philosophy, philosophy of mind, aesthetics, moral philosophy, and anthropology

LUDOVICO DOLCE AND THE BIRTH OF THE CRITICISM OF ART. A MOMENT OF RECEPTION OF ARISTOTLE'S POETICS IN THE RENAISSANCE

The paper shows how the re-discovery of Aristotle's Poetics in the sixteenth century led to the rise of art criticism, contrary to the long-standing idea that criticism was born in the Enlightenment. The focus of the article is on the polymath Ludovico Dolce, who, in his Dialogo sulla Pittura (1557), employs the precepts of the Aristotelian poetics to assess firm criteria of judgment of artworks. Unlike many other writings of the period on the same subject, Dolce's reflections did not offer neither a history of art nor a body of rules on how to paint or sculpt, rather sought the proper ways to interpret accurately the artistic work in all its aspects, even the most subjective. Through stringent parallels with Aristotle's Poetics, Dolce outlines what can be considered one of the earliest form of art criticism.The paper shows how the re-discovery of Aristotle's Poetics in the sixteenth century led to the rise of art criticism, contrary to the long-standing idea that criticism was born in the Enlightenment. The focus of the article is on the polymath Ludovico Dolce, who, in his Dialogo sulla Pittura (1557), employs the precepts of the Aristotelian poetics to assess firm criteria of judgment of artworks. Unlike many other writings of the period on the same subject, Dolce's reflections did not offer neither a history of art nor a body of rules on how to paint or sculpt, rather sought the proper ways to interpret accurately the artistic work in all its aspects, even the most subjective. Through stringent parallels with Aristotle's Poetics, Dolce outlines what can be considered one of the earliest form of art criticism

Aristotele e il Nuovo Mondo. L’epistemologia delle scoperte geografiche nell’aristotelismo rinascimentale

Attraverso l'analisi dei commentari ai Meteorologica, l'articolo mostra come è cambiata l'epistemologia aristotelica a causa delle nuove scoperte geografiche che ridisegnano il concetto di "esperienza" e il ruolo dell'autorità

“Uno sguardo nella terra promessa dell’Umanesimo. Noterella su Georg Voigt interprete di Petrarca”

This paper focuses on Georg Ludwig Voigt’s appraisal of Petrarch. Voigt gives a rich account of Petrarch’s intellectual figure, in particular as philosopher, by examining the originality of his thought and the weaknesses of his character, which are considered paradigmatic of Humanism. According to Voigt, Petrarch epitomizes not only the foundational elements of Humanism, but also its development and its end. In fact, he characterizes Petrarch as a controversial figure who has never been able to implement his ideals. Similarly Humanism, which aimed to lead to a spiritual renewal, betrayed its original mission and degenerated into mere pedantry and imitation. This paper examines Petrarch as the symbol of Humanism by showing Voigt’s romantic and idealistic heritage and his impact on twentieth-century historiography