Spinoza’s philosophy could be understood as a tireless research of the truth. Nevertheless it can’t be interpreted as a path that leads only the wise to the salvation. The effort to reach the bliss, freedom, the true knowledge of the mind, has to belong to all humanity. So the role of the philosopher must be to encourage men to seek the truth, to love it through the union with God above all else. This is the soteriological fabric of the early (...) works of Spinoza. It will lead to the exaltation of the homo liber and of the Spirit of Christ as the way of salvation in his mature works. Nature’s knowledge will be the lifeblood in the context of the research for the universal salvation of individuals as a happy community. (shrink)

Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth value, I take (...) my move from chapter 9 of Aristotle’s Poetics, where he holds that poetry is imitative of reality, not in the sense of history – which relates what has happened – but rather, in so far as it expresses “the kinds of things that might happen, that is, that could happen because they are either probable or necessary.” The probable admits variations of degree. By means of an examination of the Meinongian concepts of assumption and objective (i.e. state of affairs), which also allow different modes of gradation, I introduce, with examples drawn from Dante’s Divine Comedy and The Description (Tradimento) by Machiavelli, a theory of degrees of truth that makes it possible to apply the concept of probability to literary as well as to historical texts. Finally, I connect the universal character of the literary text with the ontological notion of incomplete object and argue that a fictional object, as it is incomplete, is not an individual but a type. (shrink)