An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

Review of Carlo M. Lucarini et Claudio Moreschini, Hermias Alexandrinus, In Platonis Phaedrum scholia, Berlin – Boston: De Gruyter, 2012, lxiv+293 pp., ISBN 978-3-11-020115-4.

In this paper, I have been able to demonstrate that the so-called Lexicon Theeteti is an apographon of Pal. gr. 173, a well known Plato's manuscript of Xth century. The codex Laurentianus 57,24, which contains the lexicon, previously dated to XIV/XV century, was also backdated to the first half of XIVth century.

Da tempo era vivamente sentita l’esigenza di una nuova edizione degli scoli a Platone, che sostituisse quella di Greene del 1938. Questo volume contiene una nuova edizione degli scoli relativi ai dialoghi delle prime sette tetralogie, fondata su una completa collazione dei testimoni principali, aumentati di due unità rispetto all’edizione precedente, e corredata da un apparato di fonti e paralleli, il cui rapporto con gli scoli è stato del tutto rimeditato alla luce delle recenti acquisizioni della critica.

Around the middle of XVI th century, in the Florence of Grand Duke Cosimo I de’ Medici, Bernardo Segni (Firenze, 1504–1558) translated and commented some Aristotelian works in the Florentine vernacular. His works represents a very important innovation in the panorama of Italian Aristotelianism, because they are the product of circles outside the university world and are the first attempt to translate in Italian the works of the great Greek philosopher. In this paper, I’ll examine some aspects of his works, (...) in particular of his translation of Nicomachean Ethics. (shrink)

APh 75-03933: Discussione di problemi testuali e nuove proposte di lettura.

APh 75-03932:Sono presentati i risultati di una nuova collazione dei principali manoscritti delle prime sette tetralogie, estesa anche a codici non utilizzati dall'edizione corrente degli scoli. Viene esclusa una redazione tardo-antica del corpus che risulta un prodotto specificamente bizantino redatto in tre fasi fra il 9° sec. e la metà del 10°.

l volume di Gustavo Gozzi "Diritti e civiltà. Storia e filosofia del diritto internazionale (Bologna, il Mulino, 2010) ha a nostro avviso colmato una lacuna importante nel panorama filosofico-giuridico italiano. Si tratta infatti della prima pubblicazione in lingua italiana che, da un punto di vista insieme storico e filosofico, affronta in modo sistematico lo sviluppo del diritto internazionale dall’età moderna ai giorni nostri. Questo primato è già un eccellente motivo per discutere Diritti e civiltà. Ma c’è di più. Una parte (...) consistente del saggio è dedicata alla ricostruzione e discussione di contributi non-occidentali al dibattito contemporaneo sulla natura e il ruolo del diritto internazionale. Si può anzi dire che Gozzi fa proprio il punto di vista di questi autori: il volume si distingue infatti per un approccio critico nei confronti della pretesa universalità delle dottrine occidentali del diritto internazionale. Questo scetticismo si fonda sulla tesi fondamentale del volume, secondo la quale il diritto internazionale è caratterizzato dalla “continuità del discorso dell’egemonia occidentale dalla prima età moderna fino alla realtà contemporanea” (p. 11). Prendendo avvio dall’approccio sistematico e insieme critico del volume e dai temi in esso trattati, questo forum intende (ri)discutere temi chiave della storia e filosofia del diritto internazionale e metterne a fuoco un programma di ricerca. (shrink)

Lo sviluppo del diritto internazionale penale è stato accolto con entusiasmo da attivisti per i diritti umani, giuristi e studiosi di questioni internazionali. La punizione dei crimini internazionali più gravi, come i crimini di guerra, quelli contro l’umanità e il genocidio è considerata un importante passo avanti verso l’effettiva protezione dei diritti umani e l’affermazione della pace. Questo entusiasmo sembra però aver lasciato sullo sfondo alcune domande fondamentali: come si giustifica l’esercizio del potere punitivo internazionale? Chi ne è il titolare (...) e in virtù di cosa? Il tribunale del mondo prova a rispondere a queste domande, indagando da una prospettiva filosofico-politico-giuridica la giustificazione del diritto internazionale penale e assumendo come punto di partenza le specificità del contesto internazionale. L’autrice auspica il superamento del diritto internazionale penale a favore di un sistema plurale di risposta alle gravi violazioni dei diritti elementari: un sistema che comprenda anche soluzioni non penali e che in alternativa all’universalismo del diritto penale internazionale offra meccanismi orientati alle esigenze delle comunità coinvolte. (shrink)

The relationship between power, law and consent is a key feature of the Western debate on criminal law. On the one side, defining the legitimate ways of exercising the punitive power has been a critical question since the Enlightenment thought onwards and especially as to the rule of law doctrine. On the other side, the role played by public punishment in shaping consent and its communicative potential have been crucial questions for critical, as well as non-critical approaches to criminal law (...) in contemporary thought. These questions gain in strength and radicalism when it comes to international criminal law (ICL). In this case the filter of the state is not present anymore to mediate between power, law and consent, and the power to punish individuals is directly exercised by international institutions. This means, on the one hand, that traditional justifications of the power to punish and which are elaborated on in the domestic sphere are not useful anymore in legitimating international punishment. International criminal norms are not framed by an international democratically elected parliament, and their exercise is not controlled by the complex system of checks and balances typical of the rule of law. On the other hand, having not being created by a sovereign, international criminal law cannot be conceived as an instrument to build or consolidate consent around the sovereign. A double-sided dilemma therefore arises: traditional explanations are no longer apt to answer the question whether ICL is legitimate, while ICL itself can no longer be considered an instrument to build consent around the traditional power exercising it, namely the state. Although I consider both sides of the dilemma equally interesting and stimulating, I will focus here only on one side of the coin: the ability to build consent of the ICL institutions, and in particular the International Criminal Court (ICC). In other words, instead of asking whether the consent around the ICC is broad enough for the Court to be considered legitimate, I shall ask whether the ICC is able to build consent around the world order it embodies. (shrink)

Review of B. Vancamp, Untersuchungen zur handschriftlichen Überlieferung von Platons Menon, Palingenesia Band 97. Stuttgart: Franz Steiner Verlag, 2010.

The text presented contains an interview conducted with Domenico Losurdo about "La lotta di classe. Una storia politica e filosofica" (Laterza: Rome 2016) [Class Struggle: A Political and Philosophical History (Palgrave: New York 2018)] and "La sinistra assente. Crisi, società dello spettacolo, guerra" (Carocci: Rome 2014).

Roberto Cordeschi, La scoperta dell’artificiale. Psicologia, filosofia e macchine intorno alla cibernetica, Milano, Masson–Dunod, 1998, pp. 320; Domenico Parisi, Mente: I nuovi modelli della Vita Artificiale, Bologna, Il Mulino, 1999, pp. 200.

La Cappella Carafa di Santa Severina, nella chiesa di San Domenico Maggiore a Napoli, era uno dei luoghi preferiti della giovinezza di Giordano Bruno. La sua struttura, che ricorda il teatro di Giulio Camillo, e la presenza di trenta simboli astrologici scolpiti sugli archi, la rendono la “stanza della memoria” ideale per l’applicazione dell’innovativa arte della memoria sviluppata dal filosofo Nolano. -/- The ‘memory place’ of Giordano Bruno. The Carafa of Santa Severina Chapel in the church of San (...) class='Hi'>Domenico Maggiore, Naples, was one of the favourite places of Giordano Bruno’s youth. Its structure, similar to that of Giulio Camillo’s theatre, and the presence of thirty astrological symbols carved on the arches, make it the ideal ‘memory place’ for the application of the innovative ‘art of memory’ developed by the philosopher. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed (...) on their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. (...) Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

This is the first record of nesting in the soil by the ant Camponotus sericeiventris (Guérin-Méneville, 1838), which has arboreal habit. The study was conducted in southeastern Brazil, in an ant colony located in a subterranean site. This study describes, for the first time, the ability of this arboreal species to vary its nesting site by the occupation of an unusual place in an urban environment; and this study demonstrates that this species is an interesting model for studies in urban (...) environments. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

In this paper I will focus on a crux in two Platonic scholia, where manuscripts have the impossible διονύσιον, but Greene suggests δίκαιον. This amendment was made on the basis of a gloss of Photius’ Lexicon, although the corresponding gloss of Suidas confirms the text of Platonic scholia. However the agreement with Photius is not so important, not only because it is impossible to prove that he reproduces the text of the glossary composed by the Atticist Aelius Dionysius without any (...) modification (it is also the source of Suidas and other Byzantine lexica, and especially of the so called Erweiterte Synagoge, which the Platonic scholia derive from as well), but also because our scholia reveal elsewhere a major affinity with Suidas than with Patriarch’s Lexicon. In the light of a careful review of the loci paralleli I therefore suggest the reading δημόσιον. (shrink)

This paper examines the relationship between some scholia to the IIId book of Plato’s Republic, Proclus’ commentary on it, and the so-called Chrestomathia, a work that the manuscripts attribute to the Neoplatonic philosopher himself. The conclusion is that the relationship between the three texts is highly problematic, and that we cannot think of a simple and direct derivation from one another. The author of the scholia probably made use of texts different from those that have come down to us, or (...) alternatively he has reworked his sources in a personal way. (shrink)

This paper addresses issues regarding perceptions of surveillance technologies in Europe. It analyses existing studies in order to explore how perceptions of surveillance affect and are affected by the negative effects of surveillance and how perceptions and effectiveness of surveillance technologies relate to each other. The paper identifies 12 negative effects of surveillance including, among others, privacy intrusion, the chilling effect and social exclusion, and classifies them into three groups. It further illustrates the different ways in which perceptions and effectiveness (...) of surveillance interact with each other, distinguishing between perceived security and perceived effectiveness. Finally, the paper advances a methodology to take into account perception issues when designing new surveillance technologies. By doing so, it rejects manipulative measures aiming at improving perceptions only and suggests measures that address the background conditions affecting perceptions. (shrink)

Some remarks about commentaries on Plato in the medieval Byzantium.

In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...) (2007), I argue, contra James Young (2001), that those artworks can yield experiential knowledge. In the third place, I argue that those artworks also possess probatory value. Finally, I maintain that those artworks can be valuable instruments for the education of the emotions. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...) of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. (...) Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Existing work on gaslighting ties it constitutively to facts about the intentions or prejudices of the gaslighter and/or his victim’s prior experience of epistemic injustice. I argue that the concept of gaslighting is more broadly applicable than has been appreciated: what is distinctive about gaslighting, on my account, is simply that a gaslighter confronts his victim with a certain kind of choice between rejecting his testimony and doubting her own basic epistemic competence in some domain. I thus hold that gaslighting (...) is a purely epistemic phenomenon—not requiring any particular set of intentions or prejudices on the part of the gaslighter—and also that it can occur even in the absence of any prior experience of epistemic injustice. Appreciating the dilemmatic character of gaslighting allows us to understand its connection with a characteristic sort of epistemic harm, makes it easier to apply the concept of gaslighting in practice, and raises the possibility that we might discover its structure and the associated harm in surprising places. (shrink)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

--- abstract is not requested by the Editors.

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...) some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...) On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)

The Research Domani Criteria framework (RdoC) encourages research on specific impairments present across traditional nosological categories and suggests a list of biological and behavioral measures for assessing them. After a description of RdoC, in this article we focus on impairments of the ability of understanding others, specifically in Theory of Mind and empathy. We illustrate recent evidence on brain anomalies correlating with these deficits in Schizophrenia, Addiction Disorders and Mood Disorders populations. In the last section, we zoom out and consider (...) this kind of research vis-à-vis the objection of being reductionistic that is, in favoring mechanistic accounts of mental disorders. We argue that metaphysical reductionism and explanatory reductionism are not conceptually entailed by the RdoC framework. (shrink)

In juxtaposition with the myth and tragedy of Ovid’s Medea, this paper investigates the possibility within the Kantian conception of agency of understanding moral evil as acting against one’s better judgment. It defends the thesis that in Kant self-deception, i. e. the intentional untruthfulness to oneself, provides the fundamental structure for choosing against the moral law. I argue that, as Kant’s thought progresses, self-deception slowly proceeds to become the paradigmatic case of moral evil. This is discussed with regard to two (...) important topics in his later moral philosophy: the doctrine of radical evil and the crucial role of the duty of truthfulness in ethics. The inquiry into Kant’s theory of conscience unfolds both against this theoretical background and in light of its historical roots in the polemic against casuistry and probabilism. This contribution closes with a brief look at the tools Kant implements to counter this tendency to self-deception in moral judgment and particularly at the role casuistry plays within his conception of moral education. (shrink)

Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture (...) the lesson learned from the analysis of the art debate. (shrink)

Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar y (...) desarrollar teorías sobre qué son las obras de arte. Además, Currie y Davies presentan algunos de los argumentos más refinados contra los puntos de vista contextualistas y estructuralistas sobre la metafísica de las obras de arte, así como contra el empirismo estético. (shrink)

The term 'covert mixed quotation' describes cases in which linguistic material is interpreted in the manner of mixed quotation — that is, used in addition to being mentioned — despite the superficial absence of any commonly recognized conventional devices indicating quotation. After developing a novel theory of mixed quotation, I show that positing covert mixed quotation allows us to give simple and unified treatments of a number of puzzling semantic phenomena, including the projective behavior of conventional implicature items embedded in (...) indirect speech reports and propositional attitude ascriptions, so-called 'c-monsters,' metalinguistic negation, metalinguistic negotiation, and 'in a sense' constructions. (shrink)

A review of a collection of papers by Paul Ricoeur edited by Domenico Jervolino. The collection highlights Ricoeur's journey from the reflexive philosophy to analytic philosophy through hermeneutics.

The standard view of classical cognitive science stated that cognition consists in the manipulation of language-like structures according to formal rules. Since cognition is ‘linguistic’ in itself, according to this view language is just a complex communication system and does not influence cognitive processes in any substantial way. This view has been criticized from several perspectives and a new framework (Embodied Cognition) has emerged that considers cognitive processes as non-symbolic and heavily dependent on the dynamical interactions between the cognitive system (...) and its environment. But notwithstanding the successes of the embodied cognitive science in explaining low-level cognitive behaviors, it is still not clear whether and how it can scale up for explaining high-level cognition. In this paper we argue that this can be done by considering the role of language as a cognitive tool: i.e. how language transforms basic cognitive functions in the high-level functions that are characteristic of human cognition. In order to do that, we review some computational models that substantiate this view with respect to categorization and memory. Since these models are based on a very rudimentary form of non-syntactic ‘language’ we argue that the use of language as a cognitive tool might have been an early discovery in hominid evolution, and might have played a substantial role in the evolution of language itself. (shrink)

The inclusion problem for theories of gender arises when those theories inappropriately fail to include certain individuals in the gender categories to which they ought to belong. The inclusion problem affects both of the most influential traditions in feminist theorizing about gender: social-position accounts and identity accounts. I argue that the inclusion problem can be solved by adopting a structured theory of gender which incorporates aspects of both social-position accounts and identity accounts. According to the theory I favor, an individual’s (...) gender is determined by their gender identity if they have one; otherwise, it is determined by their social position. My structured approach to gender offers a more direct solution to the gender inclusion problem than alternatives recently advocated by Barnes (2020), Jenkins (2023), and others. It also points the way to a simple solution to inclusion problems that arise at the level of gendered language. (shrink)

Quotation marks in natural language that do not function straightforwardly as devices for securing reference to linguistic objects have generally been categorized as instances of either mixed quotation or scare quotation. I argue that certain uses of quotation marks in natural language resist assimilation to either of these two theoretical categories, as well as to the more familiar categories of pure and direct quotation. It follows that we must recognize a novel type of quotation in natural language, which I call (...) dummy quotation because it involves the contribution of semantically minimal `dummy meanings' to composition. I develop a semantic theory of dummy quotation and show that it is better able than rival proposals to account for the troublesome examples in question. (shrink)

This chapter introduces readers to the empirical questions at issue in debates over gendered pronouns and assesses the plausibility of various possible answers to these questions. It has two parts. The first is a general introduction to the linguistics and psychology of grammatical gender. The second focuses on the meanings of gendered pronouns in English. It begins with a discussion of some methodological limitations of empirical approaches to the topic and the normative implications of those limitations. It then argues against (...) three simple theories of the semantics of gendered pronouns in English and proposes an alternative that fares better: the Gender-First View. Finally, it discusses the singular use of 'they' and its connection to nonbinary gender identities. (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 epoca medievale si è molto discusso su alcuni concetti chiave come prova o giustificazione. La teoria della prova contenuta nei trattati di logica medievale prende il nome tecnico di consequentia, che è un tipo di ragionamento fondato sul passaggio dalla concessione (o negazione) di uno o più enunciati denominati antecedenti alla concessione (o negazione) di uno o più enunciati denominati conseguenti. Questo tipo di teoria ha avuto un correlato a livello dei singoli termini che compongono l’enunciato all'interno della teoria (...) nota come suppositio terminorum. Prende, infatti, il nome di descensus, la regola che permette la verifica del passaggio da un termine maggiore (un termine comune) ad un termine minore (che denota individui). La stessa definizione di alcune ramificazioni della teoria della suppositio è col-legata alla possibilità di ammettere o meno il descensus cioè questa "discesa" da un termine comune ad una congiunzione o disgiunzione di termini singolari. Il presente lavoro intende descrivere la teoria del descensus come un tipo particolare di consequentia mostrandone le connessioni con le moderne tecniche logiche. I trattati che si affronteranno appartengono al XIV e al XV secolo, cioè ad un periodo caratterizzato da una sistemazione della materia che li rende confrontabili con un quadro teorico unitario. (shrink)

This Article aims to demonstrate that the WTO jurisprudence on science-related trade disputes has become imbued with a specific vision of science that has prevented any possible application of the precautionary principle. This situation is due both to the WTO’s specific dispute settlement procedures and to the substantive nature of precautionary measures. Indeed, such measures’ foundation on “insufficient scientific evidence” dramatically undermines the probative value of science in WTO adjudication and creates a seeming contradiction: The system requires defendants to provide (...) legal evidence of the absence of sufficient scientific evidence. The reasoning of the Panel on the EC–Biotech case was riddled with this apparent paradox. For the first time, the US–Continued Suspension case has opened a gateway to address this fundamental issue. (shrink)

This article examines the possibility of philosophizing about mathematics with children. It aims at outlining the nature of the practice of philosophy of mathematics with children in a mainly theoretical and exploratory way. First, an attempt at a definition is proposed. Second, I suggest some reasons that might motivate such a practice. My thesis is that one can identify an intrinsic as well as two extrinsic goals of philosophizing about mathematics with children. The intrinsic goal is related to a presumed (...) inherent importance of presenting children with some philosophical questions about mathematics. The extrinsic goals consist of first the positive effects such a practice can have on mathematical learning and abilities and second the fostering of children's understanding of philosophical method of inquiry and thinking and therefore of their philosophical thinking competences. Third, some examples found in the literature of previously developed ways of practising philosophy of mathematics with children are presented. This article aims at giving a general outlining picture of the issues surrounding the practice of philosophy of mathematics with children and should therefore be read as an encouragement to further development and studies. (shrink)