Il quadro generale di una fenomenologia statunitense della musica

This article sets out the overall framework within which American music phenomenologists operates. A widely accepted definition of the word phenomenology, together with a basically eclectic attitude and a boundary issue between musicology and philosophy, is identified. The impetus to the article is provided by an anti-positivistic polemic and a plea in defence of the meaning and concreteness of musical experience. These aspects then combine in a critique of traditional musical analysis in its positivistic matrix. S.K. Langer's philosophy, as the inspiration of this polemic, is examined in the central part of the article. However, the author's distancing from the idealistic aspects of his esthetics is covered, in particular the downplaying of the sound-sensitive level and the condemnation of musicology in general. Sense and sensitive materials, wide philosophical options and concrete procedures of music analysis are what these authors look for in phenomenology as a means to reconcile humanistic and technical culture. Therefore, the article is not so much a condemnation as an attempt to refound musicology in its entirety, with particular reference to contemporary music.     

La filosofia e la metodologia della scienza oggi in Italia

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Philosophy and methodology of science in Italy today

     

Tommaso Greco: La legge della fiducia. Alle radici del diritto

Ethical Theory and Moral Practice -     

Conversing on Love: Text and Subtext in Tullia d'Aragona's Dialogo della Infinità d'Amore

Few philosophical topics are as intertwined with gender questions as the topic of love, which moved center‐stage in the diverse literary and philosophical productions of the Renaissance. Situated in the rich cultural environment of Cinquecento, Italy, Tullia d'Aragona's Dialogo della Infinita d'Amore offers not only a unique contribution to Renaissance theories of love, but also forces a reexamination of the aims and methods of communication, and provokes a reflection on philosophy's very own (male) self‐conception.