ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own traumatic (...) experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

In his Christian and Metaphysical Meditations (1683) Malebranche develops a reflection in which the self discovers in its interiority that the interlocutor able to answer some of its questions is the divine Word. Through references to the Holy Scriptures and to Augustine, Malebranche constructs a meditative itinerary that differs from the one proposed by Descartes, as it moves from the lumière naturelle in the Cartesian sense to the lumière of the Word. In the light of these historical-theoretical data, we propose (...) a reconstruction of the role played by interiority and meditation in certain texts by Malebranche, highlighting the moments in which he appropriated the Cartesian heritage and those in which he distanced himself from Descartes’ philosophical paradigm. (shrink)

This volume brings together the advanced research results obtained by the European COST Action 2102: “Cross Modal Analysis of Verbal and Nonverbal Communication”. The research published in this book was discussed at the 3rd joint EUCOGII-COST 2102 International Training School entitled “Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces: Theoretical and Practical Issues ” and held in Caserta, Italy, on March 15-19, 2010.

This paper makes two essential claims about the nature of shame and shame punishment. I argue that, if we properly understand the nature of shame, that it is sometimes justifiable to shame others in the context of a pluralistic multicultural society. I begin by assessing the accounts of shame provided by Cheshire Calhoun (2004) and Julien Deonna, Raffaele Rodogno, & Fabrice Teroni (2012). I argue that both views have problems. I defend a theory of shame and embarrassment that (...) connects both emotions to “whole-self” properties. Shame and embarrassment, I claim, are products of the same underlying emotion. I distinguish between moralized and nonmoralized shame in order to show when, and how, moral and non-moral shame may be justly deployed. Shame is appropriate, I argue, if and only if it targets malleable moral or non-moral normative imperfections of a person’s ‘whole-self.’ Shame is unjustifiable when it targets durable aspects of a person’s “whole-self.” I conclude by distinguishing shame punishments from guilt punishments and show that my account can explain why it is wrong to shame individuals on account of their race, sex, gender, or body while permitting us to sometimes levy shame and shame punishment against others, even those otherwise immune to moral reasons. (shrink)

The work is a collection of 21 papers with at the center the figure of Alexander Koyré. From the reading several understanding keys emerge each interconnecting and overlapping with the others. Far from considering my analysys the ultimate I believe it will help the readers on accessing the entire collection that might shows itself quite complex for the variety of the topics which are addressed.

After noting the absence of a mutual confrontation, the aim of this research has been redefined in reconstructing the influence of Habermas’ writings on the work of Zygmunt Bauman – an aspect known to scholars of the Polish sociologist but not very well recognized in the international sociological community. Following a philological and critical literary approach, the Baumanian interpretations – selective, discontinuous and, often, erroneous – have been systematized into two main topics: 1) the epistemological foundations of social theory; 2) (...) the normative foundations of critical theory (and the relationship with praxis). Bauman; Habermas; sociology; (post)modernity; praxis Dopo aver constatato l’inesistenza di un reciproco confronto, lo scopo della ricerca si è ridefinito nel ricostruire l’influenza degli scritti di Habermas sull’opera di Zygmunt Bauman – un aspetto noto agli studiosi del sociologo polacco ma poco conosciuto nella comunità socio-logica internazionale. Seguendo un approccio filologico e critico letterario, le interpretazioni baumaniane – selettive, discontinue e, spesso, erronee – sono state sistematizzate in due principali temi: 1) i fonda-menti conoscitivi della teoria sociale; 2) i fondamenti normativi della teoria critica (e il rapporto con la prassi). -/- Parole chiave: Bauman; Habermas; sociologia; (post)modernità; prassi -/- In "Zygmunt Bauman. I cancelli dell’acqua", a cura di Riccardo Mazzeo. Maria Caterina Federici, Editoriale. Bauman e dell’incertezza Riccardo Mazzeo, Premessa. I cancelli dell’acqua Riccardo Mazzeo, Introduzione. Il pendolo di Zygmunt Bauman - Mauro Magatti, Siamo ancora nella modernità liquida? Un esercizio di sociologia baumaniana - Benedetto Vecchi, La missione impossibile di Zygmunt Bauman - Vanni Codeluppi, Bauman: il consumo come compito - Raffaele Federici, Forme e impressionismo nel disagio della postmodernità - Vincenzo Romania, Zygmunt Bauman e la modernità dell’Olocausto: fra crucialità delle domande e debolezza delle risposte - Daniele Francesconi, Zygmunt Bauman. L’intellettuale sulla scena - Claudio Tugnoli, La morte di "terzo grado" come stile di vita. Esorcismi della paura nell’opera di Zygmunt Bauman - Sabina Curti, Paura liquida e ruolo degli intellettuali in Zygmunt Bauman - Luca Corchia, Bauman e Habermas su teoria e prassi. Alle origini di un confronto incompiuto - Marta Carlini, Jakub Pichalski, Bibliografia ragionata degli scritti italiani di e su Zygmunt Bauman - Federico Batini, Giulia Toti, Una scuola per tutti? Riflessioni a margine di "Conversazioni sull’educazione" Recensioni. (shrink)