Umberto Eco’s philosophical project, which culminates in the development of a systematic and philosophically relevant semiotics, has a perplexing and problematic debt to and link with pragmatism in its many forms. Indeed, his apparent relation to pragmatism as such is in fact quite tangential if we ignore the pivotal role of Peirce in defining and supporting Eco’s explicit semiotic turn. But Eco claimed that John Dewey’s Art as Experience, the foundation of a distinctively pragmatist aesthetics, was a major factor in (...) his early philosophical movement away from certain premises of the aesthetic tradition that held sway during his student days. Eco engages Dewey in surprising and enlightening ways in his early books, but the trail of Dewey is gradually ‘lost.’ It is this trail, wandering through different contexts, that I follow in this paper. I also indicate how Dewey’s work could have played a larger role in Eco’s mature aesthetic thought and that we should see the absence of Dewey to represent a lost opportunity for emphasizing and enriching the pragmatist side of a semiotic approach to aesthetics. (shrink)

The claim that God is perfectly beautiful has played a key role within the history of a number of religious traditions. However, this view has received surprisingly little attention from philosophers of religion in recent decades. In this article I aim to remedy this neglect by addressing some key philosophical issues surrounding the doctrine of divine beauty. I begin by considering how best to explicate the claim that God is perfectly beautiful before moving on to ask what consequences accepting this (...) claim will have for our broader theorizing in philosophy. (shrink)

This study is a three-part play of musement on a few details in the potentially infinite landscape of Umberto Eco’s turn to, relations with, and adaptations of Pragmatism. This three-part guess was product of an abandoned first guess-attempt entitled: “Who’s on First(ness)?” The present title ensued naturally, and with some laughter, in recalling and using the play on words and names made famous by Abbott and Costello. Section 1 will mention two uncles of American Pragmatism. Section 2 will engage in (...) Eco’s ista ricostruzionista (with a dash of ologo) reading of “iconismo primario” (primary iconism) that raises questions regarding his Peircean rereading and assessments. Section 3 will switch to a darker voice and touch upon a few issues in Eco’s writing (or not) on the “comic,” particularly his essays “Pirandello Ridens,” and “The Comic and the Rule.”. (shrink)

In the second installment of this contribution to the Common Knowledge symposium “Contextualism—the Next Generation,” Donne's religious poetry is set in dialogue not only with the “Great Controversy” of the 1560s over the nature of the eucharistic sign but also with pre-Christian semiotic discourses. From the perspective of contextualist scholarship, which recognizes in any temporal context a limited number of discourses available, Donne's religious poems of the period from about 1607 to 1620 register many contradictory conceptions, but contradictory only in (...) the sense that no contextualist map of religious identities allows for their miscibility or even collocation. Notoriously resistant to psychological and phenomenological interests, contextualism has no place for an early seventeenth-century Christian writer whose concern is less to join a school of thought on the Real Presence in the Eucharist than to dismiss the issue as vexingly trivial in comparison with the question of whether God thinks that each or any of us adequately loves him. For the questions that concern Donne, there are no determinate answers available, and no standard vocabulary. But the poet's alternating acquiescence in and fretfulness about indeterminacy and incomprehensibility constitute an intellectual and affective identity as much as does the attachment to any one or other more recognizable set of arguments and ways of framing them. (shrink)

The experience of beauty is no less mysterious for the aesthetician today than it was in the Middle Ages. Here I focus on the notion of ‘unseen beauty’ and how certain aspects of medieval philosophizing about the nature of beauty can still be of use for the contemporary aesthetician. I draw a comparison between some concepts that pervade the whole of the Medieval period – that there is a transcendent source of visible beauty, and that visible beauties function as images (...) of the invisible beauty – with a modern conception of aesthetic experience, as it is expressed in authors like Clive Bell. (shrink)

This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a positive (...) philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts. (shrink)

The investigation that can be carried out on a given problem often requires taking into account both its characteristics and the theoretical tools that make the investigation possible, as well as the resources that can contribute to feeding and developing it. The research work – or, to use an oxymoron, theoretical practice – is based both on the quality and rigour of the investigation that is conducted on the possibilities and limitations that it encounters while being as coherent and reliabl...

in 1612, lodovico cigoli completed a fresco in the pauline chapel of the basilica of santa maria maggiore in rome depicting apocalypse 12: “a woman clothed with the sun, and the moon under her feet.” he showed the crescent moon with spots, as his friend galileo had observed with the newly invented telescope. considerations of the orthodox view of the perfect moon as held by philosophers have led historians to ask why this clearly imperfect moon in a religious painting raised (...) no eyebrows. we argue that when considered in the context of biblical interpretation and the rhetoric of the counter-reformation, the imperfect moon under the woman's feet was entirely consistent with traditional interpretations of apocalypse 12. (shrink)

The ArgumentIn 1612, Lodovico Cigoli completed a fresco in the Pauline chapel of the Basilica of Santa Maria Maggiore in Rome depicting Apocalypse 12: “A woman clothed with the sun, and the moon under her feet.” He showed the crescent Moon with spots, as his friend Galileo had observed with the newly invented telescope. Considerations of the orthodox view of the perfect Moon as held by philosophers have led historians to ask why this clearly imperfect Moon in a religious painting (...) raised no eyebrows. We argue that when considered in the context of biblical interpretation and the rhetoric of the Counter-Reformation, the imperfect Moon under the woman's feet was entirely consistent with traditional interpretations of Apocalypse 12. (shrink)