Le Quaestiones 2 («Se l’oggetto adeguato della conoscenza divina sia l’essenza di Dio o l’ente universale») e 3 («Se le creature secondo le loro proprie nature e le loro essenze siano vita in Dio e nel Verbo») della Distinctio 35 dello Scriptum di Pietro Aureoli sono importanti per la ricostruzione sia del pensiero del loro autore che della storia della dottrina delle idee divine nel Medioevo. Aureoli rifiuta il modello tradizionale di causalità esemplare, secondo cui Dio avrebbe creato il mondo (...) sulla base di modelli archetipi esistenti dall’eternità nella sua mente. Ricorrendo al concetto di aequivocatio, stabilisce che l’essenza di Dio è in maniera equivoca l’unico esemplare per tutte le creature ed elabora, così, la teoria della causalità esemplare equivoca. (shrink)

Torture is unethical and usually counterproductive. It is prohibited by international and national laws. Yet it persists: according to Amnesty International, torture is widespread in more than a third of countries. Physicians and other medical professionals are frequently asked to assist with torture. -/- Medical complicity in torture, like other forms of involvement, is prohibited both by international law and by codes of professional ethics. However, when the victims of torture are also patients in need of treatment, doctors can find (...) themselves torn. To accede to the requests of the torturers may entail assisting or condoning terrible acts. But to refuse care to someone in medical need may seem like abandoning a patient and thereby fail to exhibit the beneficence expected of physicians. -/- In this paper, we argue that this dilemma is real and that sometimes the right thing for a doctor to do, overall, is to be complicit in torture. Though complicity in a wrongful act is itself prima facie wrongful, this judgment may be outweighed by other factors. We propose three criteria for analyzing how those factors apply to particular cases of medical complicity in torture. (shrink)

What are the most detailed descriptions under which subjects intend to perform bodily actions? According to Pacherie (2006), these descriptions may be found by looking into motor representations—action representations in the brain that determine the movements to be performed. Specifically, for any motor representation guiding an action, its subject has an M‐intention representing that action in as much detail. I show that some M‐intentions breach the constraints that intentions should meet. I then identify a set of intentions—motor intentions—that represent actions (...) in as much detail as some motor representations while meeting the constraints that intentions should meet. (shrink)

The article examines the ethics of musical interpretation, focusing on the performer’s responsibility in faithfully recreating a work from the score. Drawing inspiration from conductor Daniel Barenboim’s reflections (2016), it analyzes the delicate balance between personal expression and fidelity to the work, highlighting how interpretation involves not only technical skill but also moral responsibility. This notion develops through the importance attributed to history, authenticity, and the present in interpretation. These concepts are explored in the relationship between the score and the (...) performer, addressing the ethical challenges involved in balancing fidelity and creativity. The study of Historically Informed Performance (HIP) demonstrates how it serves as the foundation of the ethics of musical interpretation, due to its attempt to recreate the original conditions of performances. However, it is also noted that HIP embodies an overly rigid fidelity, thus requiring a more balanced approach that views musical practice as an ongoing dialogue between past and present. Finally, since the rules of musical practice are not enough for performers to interpret ethically, as they need to be internalized, the role of Aristotelian phronesis is explored as an internal guide for performers in interpretative practice. Phronesis aids the performer in mediating between past and present and in making interpretative decisions that are both ethically and musically appropriate. (shrink)

Chiara Caporuscio and Adrian Kind argue that psychedelic-assisted therapy is different from traditional therapy in an ethically fraught way and, as a result, arguably require ethical guidelines beyond those constitutive of traditional therapy. The way in question pertains to the therapist’s role as participatory sense-maker of the patient’s experiences and, with it, the balance of power between the therapist and the patient. In both traditional and psychedelic-assisted therapy, the therapist role as sense-maker can give rise to an imbalance of (...) power between the therapist and the patient, such as when the therapist’s attempt at sense-making totally disregards the patient’s attempt at doing so. But in psychedelic-assisted therapy, the possibility of such a power imbalance is exacerbated. For, given her use of a psychedelic drug, the patient’s conscious experience is altered in such a way as to render her much more vulnerable than she otherwise would be. To give just one example, since the therapist is perceived by the patient to be an authoritative sense-making guide, the former’s attempts at making sense of the latter’s experiences can have much more influence on a psychedelically intoxicated patient’s interpretation of her experiences than they otherwise would have. Hence, Caporuscio and Kind’s conclusion that the ethical guidelines constitutive of traditional therapy are probably not sufficient for psychedelic-assisted therapy. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally (...) separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

Introspection has traditionally been defined as a privileged way of obtaining beliefs about one’s occurrent mental states, and the idea that it is psychologically and epistemically different from non-introspective belief formation processes has been widely defended. At the same time, philosophers and cognitive scientists alike have pointed out the unreliability of introspective reports in consciousness research. In this paper, I will argue that this dissonance in the literature can be explained by differentiating between infallible and informative introspective beliefs. I will (...) argue that the latter are formed similarly to beliefs about the external world, and are therefore susceptible to similar success and failure conditions. Understanding introspection as belief-like will help to locate possible sources of error in regular as well as in pathological cases, carrying relevant implications for the relationship between experience, belief, and delusion. (shrink)

The Catena aurea entium of Henry of Herford is part of the work of re-elaboration of Aristotle’s natural-philosophical corpus, which characterised the European intellectual environment in the Late Middle Ages. In the central books of his encyclopaedia, Henry comments on the works of natural philosophy of Albert the Great, placing himself in continuity with the cultural project started by Albert in Cologne. The present article aims to compare the 5th book of the Catena aurea entium, which consists of a comment (...) per modum quaestionis on the Meteora of Albert the Great, with some meteorological quaestiones composed between the 13th and 15th centuries. This analysis will lead me to grasp the philosophical orientations and interpretation of Henry and also his reception of Albert the Great’s meteorology. In the 5th book, Henry introduces an extensive medical section taken from the pseudo-Aristotelian Problemata, in which he applies the Galenic medical principles to meteorology. Besides, in the quaestio 105 (V 1 105), he interprets Albert through the theological-poetic explanation of ancient origins on the sacrality of the number three and an excerpt from the Liber proverbiorum. (shrink)

The aim of this paper is to discuss the theory of exemplary causality of Peter Auriol (1280-1322). Until at least the late 13th century, medieval authors claim that the world is orderly and intelligible because God created it according to the models existing eternally in his mind (i.e. divine ideas). Auriol challenges the view of his predecessors and contemporaries. He argues that assuming divine ideas amounts to assuming multiplicity in God and therefore questioning the principle of his absolute simplicity. To (...) avoid this problem, he develops a system that enables him to account for God’s knowledge of creatures (both as individuals and as species) and hence to preserve the theological principle of providence, but at the same time allows him to reject divine ideas as intermediaries for creation. In Auriol’s theory of exemplary causality, divine essence is the only object of God’s knowledge and thus the only exemplar for creation. God’s cognitive act is directed exclusively towards his own essence. However, he knows creatures through multiple connotations, i.e. the multiple ways divine essence is connotated when God knows himself. But these connotations play no role in creation, because imitability is only proper to divine essence. To explain how an object can be the only exemplar for the creation of many different creatures, Auriol has to rethink the concept of imitability and develop a new model of exemplary causality enabling him to account for the relationship between God and his creatures. The traditional model was that of analogy: a cause produces an effect which is partly similar and partly different from it. Auriol relies on the concept of equivocity. He argues that it is unnecessary to assume a particular similarity between a cause and its effect. Quite the contrary: for an object to be the exemplar of multiple different things, it is necessary that it should not be similar to any of them. The concept of aequivocatio allows Auriol to reject the traditional model of creation. Aequivocatio does not entail a resemblance between idea and ideatum. There is no contradiction, then, in claiming that a single object (divine essence) is in an equivocal way (aequivoce) the exemplary cause of multiple different objects. This is Auriol’s new theory of divine exemplarism: the theory of similitudo aequivoca. (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

This paper focuses on the theory of divine ideas of Walter Burley. The medieval common theory of divine ideas, developed by Augustine, was intended to provide an answer to the question of the order and intelligibility of the world. The world is rationally organized since God created it according to the models existing eternally in his mind. Augustine's theory, however, left open problems such as reconciling the principle of God's unity with the plurality of ideas, the way in which ideas (...) can or cannot be said to be eternal, their ontological status. Medieval authors discussed such questions until at least the late 14th century. By resorting to the semantic tool of connotation, Burley explains both in what way ‘idea' can signify the divine essence as much as the creatures, and in what sense we can say that God has thought them from eternity, without slipping into a necessitarian view that undermines the principle of divine freedom. Moreover, by envisaging the objective mode of being as the only mode of being of ideas, he explains in what way they truly differ from one another on the basis of their different conceptual contents. (shrink)

The basic principle of all realist theories of truth developed in the 13th and 14th centuries was that a proposition is true if and only if it tells us how things are in reality. Walter Burley (1275-1344) interpreted this principle in a more radical way than 13th-century realists did. Burley, in fact, proposed a strong correspondence theory, in which there is a strict biunique correspondence between linguistic and extra-linguistic elements. Now, if the principle of correspondence can be applied to Burley (...) unconditionally to all affirmative statements (both for accidental and essential predications), it cannot be applied in the case of negative propositions, since in reality there can be no negative state of affairs. In order to solve this problem, Burley uses the strategy of introducing a complex mental object or objective entity as the significatum adequatum of negative sentences. It is an object which, although it exists only in the mind, is completely independent of our mental operations and which ultimately refers to the extra-mental world, composed exclusively of positive objects and states of affairs. In fact, the truth of a negative sentence does not depend on it corresponding to some negative fact, but rather on the opposite affirmative sentence failing to correspond to some positive extramental fact. Thus, extramental reality, which is only composed of positive objects, recovers its role as a yardstick for verifying the truth or falsity of all particular sentences, both affirmative and negative. (shrink)

This paper focuses on Paul of Venice’s realist theory of direct knowledge. In the second half of the 13th century human knowledge was standardly viewed as a process of abstraction enabling the human intellect to grasp the essences of corporeal things, regardless of the matter in which they are embodied. This process was achieved thanks to the mediation of mental entities (species intelligibiles) representing the dematerialised objects in the intellect. By the late 13th and early 14th centuries, however, some authors (...) began to regard this account as unsatisfactory. These authors held that assuming the existence of mediating species (considered themselves as objects of knowledge) amounts to thinking that between ourselves and the world there is a barrier preventing us from acquiring knowledge of reality in itself. Paul of Venice is aware of the sceptical accusations made against the theory of species in the 13th and 14th centuries. Nevertheless, he is a firm advocate of the existence of species. He claims that knowledge, despite coming about through species, is not indirect. Quite the contrary: we have immediate access to reality, and the individual objects that constitute it, precisely because our senses (which are purely passive) receive impressions direct from outside, thanks to species. He points out that species are not object of knowledge. They are not known at all during the cognitive process, as they are a mere means (a mechanical means, so to say), not an image nor a representation of anything, and therefore they are no obstacle between ourselves and the world. Thus, we are able to know reality exactly as it is in itself and, under ordinary conditions, our perceptions are practically infallible and cannot produce false knowledge. (shrink)

Abstract – The basic principle of all realist theories of truth developed in the 13th and 14th centuries was that a proposition is true if and only if it tells us how things are in reality. Walter Burley (1275-1344) interpreted this principle in a more radical way than 13th-century realists did. He proposed a correspondence theory in which there is a strict biunique correspondence between linguistic and extra-linguistic elements. If the principle of correspondence can be applied unconditionally to all affirmative (...) utterances about present entities, it cannot apply in the case of utterances concerning past entities, which no longer exist. In order to maintain the principle of correspondence, Burley argues that such utterances, in order to be true, must not correspond to an extra-mental object, but to a complex mental object or objective entity, a mental proposition with the verb in the present tense which, was true in a past moment. (shrink)

Zusammenfassung Der Aufsatz untersucht die Theorie der exemplarischen Kausalität von Petrus Aureoli (1280–1322). Mindestens bis zur zweiten Hälfte des 13. Jahrhunderts behaupteten mittelalterliche Autoren, dass die Welt geordnet und intelligibel war, weil Gott sie nach aus der Ewigkeit in seinem Intellekt existierenden Modellen (d.h. göttlichen Ideen) geschaffen hatte. Aureoli focht diese traditionelle Ansicht an. In Aureolis Theorie ist die göttliche Essenz das einzige Urbild für die Erschaffung. Um zu erklären, wie ein einziges Objekt allein als Urbilder für die Erschaffung mehrerer (...) verschiedener Kreaturen fungieren kann, muss er den Begriff der Nachahmbarkeit neu überdenken und ein neues Modell der exemplarischen Kausalität entwickeln. Das traditionelle Modell war das der Analogie: Eine Ursache erzeugt einen Effekt, der zum Teil ähnlich wie sie und zum Teil anders als sie ist. Aureoli greift auf den Be-griff von Äquivokation zurück. Er argumentiert, dass keine direkte Ähnlichkeit zwischen Ursache und Effekt notwendig ist. Im Gegenteil: Damit ein Objekt das Urbild für mehrere verschiedene Dinge sein kann, ist es notwendig, dass es für keinen von ihnen repräsentativ ist. Der Begriff der Äquivokation erlaubt es Aureoli, das traditionelle Modell der Erschaffung abzulehnen. Aequivocatio sieht keine Ähnlichkeit zwischen Idee und Ideatum vor. Es be-steht also kein Widerspruch darin, wenn man sagt, dass ein einziges Objekt (göttliche Essenz) aequivoce die exemplarische Ursache für mehrere verschiedene Objekte ist. (shrink)

In his recent book Bad Beliefs and Why They Happen to Good People, Neil Levy argues that conspiracy theories result from the same rational processes that underlie epistemic success. While we think many of Levy’s points are valuable, like his criticism of the myth of individual cognition and his emphasis on the importance of one’s social epistemic environment, we believe that his account overlooks some important aspects. We argue that social deference is an active process, and as such can be (...) helped or hindered by epistemic virtues and vices. With this in mind, holders of bad beliefs acquire more responsibility than is considered by Levy. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

La théorie démocratique contemporaine entretient une relation ambivalente avec les élections. Alors que les points de vue agrégatifs et minimalistes les considèrent comme une institution centrale de la démocratie représentative , les conceptions plus riches de la démocratie n’ont pas nécessairement de penchant pour elles. Les théories délibératives ont tendance à négliger les élections pour se concentrer sur la délibération publique, c’est-à-dire sur le processus continu de formation de l’opinion et d’échange de raisons qui se produit entre les élections . (...) Les théories participatives ont également tendance à les écarter en faveur d’une vision moins agonistique et plus coopérative de l’action politique . Par conséquent, peu d’attention normative a été accordée dans la littérature récente à ce moment très distinctif de la vie démocratique, à quelques notables exceptions près . Une conséquence naturelle est que la plupart des théoriciens font appel à des expériences délibératives telles que les jurys de citoyens et les mini-publics comme réponse efficace aux préoccupations démocratiques actuelles . Le tirage au sort peut ainsi être présenté comme une alternative préférable à l’élection, car il garantit une représentation descriptive, évite la capture de l’État par des élites puissantes et promet des résultats substantiellement meilleurs. Alors que de nombreux théoriciens s’intéressent aux moyens de compléter les institutions électorales par des organes délibératifs non électoraux , certains chercheurs se débarrasseraient volontiers des élections . Le moment est-il venu de les abandonner ? Cet article se concentre sur une affirmation spécifique que beaucoup de partisans du tirage au sort ont avancée, à savoir que celui-ci serait plus égalitaire que les élections, et vise à la rejeter. D’autres chercheurs ont déjà critiqué le tirage au sort pour diverses raisons. Landa et Pevnick , ainsi qu’Umbers objectent qu’il ne permet pas d’obtenir les améliorations instrumentales du gouvernement promises par ses promoteurs ; Ceva et Ottonelli , ainsi que Lafont nient que les critiques lotocratiques des élections reflètent une compréhension adéquate de l’autorité démocratique en tant que forme d’autonomie collective ; et Umbers soutient également que la lotocratie est en contradiction avec les principes de justice distributive et d’égalité sociale . En complément à ces critiques récentes, nous soutenons que la vision de l’égalité politique qui sous-tend le tirage au sort est problématique et peu convaincante. (shrink)

How do we understand other individuals’ actions? Answers to this question cluster around two extremes: either by ascribing to the observed individual mental states such as intentions, or without ascribing any mental states. Thus, action understanding is either full-blown mindreading, or not mindreading. An intermediate option is lacking, but would be desirable for interpreting some experimental findings. I provide this intermediate option: actions may be understood by ascribing to the observed individual proto-intentions. Unlike intentions, proto-intentions are subject to context-bound normative (...) constraints, therefore being more widely available across development. Action understanding, when it consists in proto-intention ascription, can be a minimal form of mindreading. (shrink)

Skilled sportsmen or musicians—more generally, skilled agents—often fill us with awe with the way they perform their actions. One question we may ask ourselves is whether theyintendedto perform some awe-inspiring aspects of their actions. This question becomes all the more pressing as it often turns out that these agents were not conscious of some of those aspects at the time of performance. As I shall argue, there are reasons for suspecting lack of conscious access to an aspect of one’s action (...) to be incompatible with intending to perform that aspect of one’s action. Subsequently, though, I will also argue that, in some cases, the incompatibility is onlyprima facie, and can be dispelled by drawing the following distinction: that between aspects of one’s action that are merelytemporarily not consciously accessed, versus aspects of one’s action that arepermanently inaccessible to consciousness. I will thus remove an obstacle towards saying that skilled agents intended to perform certain aspects of their actions, despite lack of conscious access to those aspects at the time of performance. (shrink)

In this chapter, I will present an empirical conjecture to the effect that some bodily actions are categorically perceived. These are bodily actions such as grasping or reaching for something, which I am going to call motor actions. My conjecture builds on one recently put forward about how the categorical perception of facial expressions of some emotions works. I shall motivate my own conjecture on the basis of both theoretical and empirical considerations, describe how it could be operationalised and what (...) explanatory gain could be obtained from it. (shrink)

The book explores ethical issues related to musical works from the Western classical tradition and the performers who interpret them. It examines the interpretation of historical works, the ontology that legitimizes musical solutions, and ethics as a guide for fulfilling the performer's role responsibility.

The essay aims to examine possible readings of disability in the context of visual art, especially regarding bodies prosthetised in unexpected ways. To do that, I will analyse two performances, participated/created by Lisa Bu- fano and Aimee Mullins, which employ prosthetics that distance them from the mimicry of human limbs. I will briefly contextualize them in the history of prosthetics. I will observe how their peculiarity and non-human forms can serve aesthetic and destabilizing purposes regarding the contours of disability. I (...) will especially mention their potentiality regarding disabled bodies’ mobility in space and their relationship with tools. The association between a disabled body and non-human traits carries several symbolic meanings and might also produce risks. Generally, they can update the perspectives on the crafting of creative assemblages that start from impaired bodies. In conclusion, I will observe how Bufano’s art entails more promises on an ethico-political level. (shrink)

This article probes the visual spatial représentations underlying the creative conceptual design of complex objects.

To początkowy fragment mowy O godności człowieka Pico della Mirandoli." Wstępem poprzedział Danilo Facca, przełożyli Zbigniew Nerczuk i Mikołaj Olszewski. -/- This is an excerpt from the Polish translation of Pico della Mirandola's De dignitate hominis. The preface to the translation by Danilo Facca. Translation by Zbigniew Nerczuk and Mikołaj Olszewski.

In this essay I examine some instances of the relations between body and soul and between health and salvation in the development of the ‘medicine of the soul’, that is ‘spiritual medicine’ (12th–15th centuries). In particular, I examine texts by theologians and men of Church – Hugo de Fouilloy, Alanus de Insulis, Humbert de Romans, Nicola of Occam, Giovanni da S. Gimignano, Bartolomeo da Ferrara and Jean Gerson – in which aspects of secular medicine are used for ethical and spiritual (...) aims. I also touch upon some physicians – Gilles de Corbeil, Arnaldo da Villanova, Galvano da Levanto, Michele Savonarola – who are, in their medical writings, very attentive to the health of the soul and its salvation. (shrink)

This contribution offers an analysis of the essays gathered and published by François Courtine in 1992 (Phénoménologie et Théologie), and authored by Jean-Louis Chrétien, Michel Henry, Jean-Luc Marion, and Paul Ricoeur. Attention is paid to the possibility of investigating the phenomena of the ‘religious sphere’, by taking into account the historical-cultural context typical of contemporary society, the role of art, and the problem of intersubjectivity. -/- .

This article investigates the ethical requirements and features that characterize the professional life of successful contemporary classical orchestras, with particular focus on the leadership style of their conductors. As we will show, the traditional authoritarian approach, marked by the conductor’s commanding charisma and strict demand for obedience from orchestra members, has evolved today into a more ethically-based transformational style of leadership. This new approach is rooted in principles of respect, voluntary compliance, and trust. The present paper delves into the interpersonal (...) dynamics within contemporary orchestras, focusing specifically on the character traits required to establish trust and collaboration between the conductor and the orchestra members, as well as among the orchestra members themselves. In particular, drawing from recent research in psychology, we underscore the significance of deference, empathy, and shared commitment toward the common goal of excellence in performance. We conclude that the ethics-centered style of leadership adopted by most contemporary conductors may extend beyond the realm of music, offering insights applicable to leaders in various other fields. By fostering deep connections, shared purpose, and collaboration, this approach has the potential to enhance organizational performance and outcomes in general. (shrink)

Pubblicato agli inizi degli anni Cinquanta del Novecento da Ernst Bloch (1885-1977), Gli strati della categoria della possibilità diventò in seguito il diciottesimo capitolo del suo Principio speranza. Vi è presentata un’indagine teorica e storica su che cosa sia la possibilità. Da Aristotele a Marx, passando per Averroè, Giordano Bruno e Hegel, lettrici e lettori ripercorreranno le proposte avanzate nella storia della filosofia per affrontare la questione del possibile, fino a scoprire la teoria della possibilità reale. Grazie alla sua particolare (...) struttura, che sviluppa l’argomentazione facendo emergere in ordine di complessità crescente i principali elementi dell’ontologia del non essere ancora, questo testo è una preziosa chiave per orientarsi nella lettura della filosofia di Bloch. (shrink)

A distorted representation of one's own body is a diagnostic criterion and core psychopathology of both anorexia nervosa (AN) and bulimia nervosa (BN). Despite recent technical advances in research, it is still unknown whether this body image disturbance is characterized by body dissatisfaction and a low ideal weight and/or includes a distorted perception or processing of body size. In this article, we provide an update and meta-analysis of 42 articles summarizing measures and results for body size estimation (BSE) from 926 (...) individuals with AN, 536 individuals with BN and 1920 controls. We replicate findings that individuals with AN and BN overestimate their body size as compared to controls (ES= 0.63). Our meta-regression shows that metric methods (BSE by direct or indirect spatial measures) yield larger effect sizes than depictive methods (BSE by evaluating distorted pictures), and that effect sizes are larger for patients with BN than for patients with AN. To interpret these results, we suggest a revised theoretical framework for BSE that accounts for differences between depictive and metric BSE methods regarding the underlying body representations (conceptual vs. perceptual, implicit vs. explicit). We also discuss clinical implications and argue for the importance of multimethod approaches to investigate body image disturbance. (shrink)

Publishers are signing transformative agreements with different research institutions and funding bodies across the world. These agreements establish that the institution or funder makes a block payment in exchange for an annual quota of OA papers allowing their affiliated authors to publish OA in an agreed list of journals, at no extra cost to the individual author. This is a step towards the transformation of these journals into a Gold (commercial) Open Access regime. -/- In January 2023, the members of (...) the OA working group contacted the editors of the 27 journals listed as relevant for the field of philosophy of science on the website of the Philosophy of Science Association. We asked the editors-in-chief two questions: 1) Did your publishers discuss any plans to transition to gold open access exclusively with you? If so, how would it work? 2) If the publishers did contact you regarding this matter, what is your view on the project? -/- We collected 22 answers. The executive summary is: 10 of the 27 journals have started the transition to Gold Open Access, although many editors are not aware of this shift, but they wouldn’t support it, and many are actively against it. (shrink)

This contribution pays special attention to the Italian legal framework concerning the collaborative and sharing economy, with a focus on those economic initiatives which are platform mediated. This choice is due to the importance of the concept of “platform” in the definitions of the CSE provided at both the Italian and the European levels. As highlighted in some studies, most actors of the CSE can be considered not only economic disruptors but also policy disruptors. Thus, the chapter tries to shed (...) light on the difficulties Italian regulators had while dealing with the emergence of these actors, especially in sectors such as food, accommodation, delivery, and transport. Italian policymakers were not able to design new regulatory frameworks to cope with the challenges of CSE, privileging bans or almost total deregulation over the elaboration of innovative rules. Regarding the issue of digital labour, the Italian legislator adopted a partial solution, creating a framework that dualizes the labour market, maybe with the aim of satisfying both digital workers and platforms. Overall, it seems that the Italian ecosystem of the CSE is bound to evolve, especially after the appearance of the health crisis related to the COVID-19. (shrink)

A narrative review of the major evidence concerning the relationship between emotional regulation and depression was conducted. The literature demonstrates a mediating role of emotional regulation in the development of depression and physical illness. Literature suggests in fact that the employment of adaptive emotional regulation strategies (e.g., reappraisal) causes a reduction of stress-elicited emotions leading to physical disorders. Conversely, dysfunctional emotional regulation strategies and, in particular, rumination and emotion suppression appear to be influential in the pathogenesis of depression and physiological (...) disease. More specifically, the evidence suggests that depression and rumination affect both cognitive (e.g., impaired ability to process negative information) and neurobiological mechanisms (e.g., hypothalamic pituitary adrenal axis overactivation and higher rates of cortisol production). Understanding the factors that govern the variety of health outcomes that different people experience following exposure to stress has important implications for the development of effective emotion-regulation interventional approaches (e.g., mindfulness-based therapy, emotion-focused therapy, and emotion regulation therapy). (shrink)

Giovanni Pico della Mirandola (1463-1494) focuses on Anaxagoras (ca. 500-428 BC) because he considers him as a precursor of the the later Neoplatonic concept all things exist in all things in their own mode, which became the core of Pico’s metaphysics. Anaxagoras’s philosophy permits Pico to establish his doctrine that all things share a portion of God within them, in their own way. Pico rejects the fixed position of man in the ontological hierarchy. Man has the chance to become (...) everything. Pico asserts that man contains all things in himself as their center, just like God contains all things as their origin. As a consequence, Anaxagoras’s principle is supportive to Pico’s metaphysics. Furthermore, Anaxagoras’s metaphysical principle is supportive of Pico’s method of allegorical interpretation, which is indispensable for his syncretism and his attempt to reveal hidden truths in every text or level of reality. (shrink)

The discussion on the 900 Conclusiones projected and sponsored by Giovanni Pico della Mirandola in Rome was cut short by the condemnation of 13 of them by the papal commission in 1487. Princeps Concordiae’s counter-arguments presented in his Apologia, published in the same year, can not be certainly considered a disputatio as Pico had called for; the papal intervention removed in this way the possibility to have a better acquaintance with a work which is still a very difficult one, (...) just for its “unfinished” form. Pedro Garsia’s Determinationes magistrales against Pico’s Apologia are a very poor reply to Pico. In this paper Pico’s arguments against some of the condemned Conclusiones are considered as well as Pedro Garsia’s counter-arguments. Giovanni Pico della Mirandola displays a deep familiarity with medieval logical and semantical doctrines, while Pedro Garsia’s arguments betray a solid ignorance. (shrink)

Some of the manuscripts once part of Giovanni Pico della Mirandola’s collection transmit autograph notes, which have been useful to reconstruct his library. A peculiar case is represented by the notes transmitted in a codex containing the Latin translation of Moses Maimonides’ Guide of the Perplexed. These notes are actual corrections to the translation made mostly on the basis of a comparison with the Hebrew text, while in some other cases they derive from a specific interpretation. The aim of (...) this paper is to present some characteristics of the textual revisions, in particular with reference to the Hebrew source. The palaeographic data demonstrate Pico’s direct involvement, which leads to the question of the authorship of these notes, namely if they were the result of an autonomous work or of a collaboration with some other scholar. (shrink)

In this article, I explain that Chiara Lubich's "art of loving" is the secret behind her enormous success in the realm of dialogue, be it within the Catholic Church, within Christianity, with other religions, with those who do not profess any religious conviction, and with the various fields of culture. I further explain that what motivates Lubich to engage in different dialogues is the desire to contribute to the fulfillment of Jesus' prayer on the night before he died: "That (...) all may be one.". (shrink)

Giovanni Pico della Mirandola was (probably) poisoned by his secretary, Cristoforo da Casalmaggiore, as Marin Sanudo testifies in his Diarii. After Pico’s remains exhumation, some years ago, it was also supposed that the main responsible of the poisoning was Marsilio Ficino. The purpose of this paper is to trace the ‘romance’ sources of this strange supposition.

Tommaso Giannini was a prominent professor at the ferrarese Studium between sixteenth and seventeenth century. Probably influenced by Platonic sympathies nurtured by the Court and partly by the University milieu, in 1587 he published his first work titled De providentia ad sententiam Platonis et Platonicorum liber unus, which was a catalyst for his academic career. A compilative work in essence, the De providentia displays a large amount of sources always tacitly used: Marsilio Ficino, Jacques Charpentier, Giulio Serina, Stefano Tiepolo, Teofilo (...) Zimara, Bessarion, Agostino Steuco and amid the ancients Plotinus, Plutarcus, Sirianus, Proclus, Giamblicus, Apuleius, Calcidius, Ammonius, Psellus. A small place is reserved to Giovanni Pico della Mirandola and precisely to his Disputationes adversus astrologiam divinatricem. The aim of the paper is to provide a supplement of analysis of Giannini’s interest in Pico’s works considering his later writings, each one commonly identified as Disputationes Aristotelicae. (shrink)

Among the main themes introduced by the Ficinian renovatio platonica, love and beauty are certainly ones of the most outstanding and philosophically relevant for the metaphysical, cosmological and anthropological doctrines they convey. Pupil and recognised successor of Marsilio Ficino, Francesco Cattani da Diacceto is the author of an organic and complex philosophy of love and his contribution is extremely significant amid De amore Renaissance treatises. Cattani’s attitude is twofold and ambiguous: he heavily depends on Pico and on his Commento sopra (...) una canzona de amore, however, he also shows his disapproval to Pico’s positions by quoting and commenting negatively large portions of his texts − always keeping the lid on Pico’s name. In addition to doctrinal dissent there seems to be a certain resentment: maybe it is the attempt to throw Pico’s figure and cultural legacy into the shade and to display himself as the only and worthy successor of Ficino; certainly it is the will to defend his master from Pico’s harsh criticism, a defence that became more compelling with the publication of the Commento in 1519, which probably inspired Cattani’s last and unfinished work, the In Platonis Symposium enarratio. (shrink)