Lebenswelt. Aesthetics and philosophy of experience. https://riviste.unimi.it/index.php/Lebenswelt <p>The jourtnal publishes articles on aesthetics, moral philosophy, history of philosophy, the theory of the arts and theater.</p> it-IT Lebenswelt. Aesthetics and philosophy of experience. 2240-9599 Kant sull'umorismo https://riviste.unimi.it/index.php/Lebenswelt/article/view/14811 <p>While it may at first sight seem strange that Kant decides to spend seven pages of the third <em>Critique</em> discussing jokes and laughter, it would be a mistake to conclude that these considerations are irrelevant to his aesthetic theory and general philosophical goals. Laughter at humour is an important and meaningful human experience, worthy of attention and philosophical analysis. In particular, then, I maintain that laughter in response to humour does not, on Kant’s view, count as a pure aesthetic judgment. But, I argue, if one grants that laughter at humour can lead to a pure aesthetic judgment, the judging in response t​o a humorous joke would be analogous, but not identical, to the experiences of the sublime and the beautiful. Finally, I argue that humour-elicited laughter, as a play with aesthetic ideas and thoughts, is of interest to reason since offers a hint of reason’s activity in the sensible world.</p> Robert Clewis Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14811 Una lettura antropologica del sublime kantiano https://riviste.unimi.it/index.php/Lebenswelt/article/view/14812 <p>Research relating to the definition of man is an activity that has engaged Kant since the beginning of his philosophy and, in this regard, an important contribution can be drawn from the theory of the sublime. The sublime is one of the undisputed protagonists of the <em>Critique of the power of judgement</em>, but its role is not limited to the completion of aesthetic theory, as it also stands out for its ability to render an exhaustive portrait of man in Kant's philosophy.</p> Giulia Milli Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14812 Hors-champ de l’estétique : dans la photographie https://riviste.unimi.it/index.php/Lebenswelt/article/view/14813 <p>The application of financial market criteria to the art world has profoundly changed the reception of works of art. It is channelled through a private circuit of auction houses, galleries and collections, which monopolise the modalities of exhibition to the public and arbitrarily select works and artists, often conforming the taste of the spectators essentially to market criteria. This phenomenon is particularly important in the case of photography, which still remains, especially in some countries, on the fringes of the cultural system of museums and large exhibition spaces.</p> Maddalena Mazzocut-Mis Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14813 Understanding the acts of another: Edith Stein and Konstantin Stanislavski https://riviste.unimi.it/index.php/Lebenswelt/article/view/14814 <p>In her early work <em>On the problem of empathy</em>, (<em>Zum Problem der Einfühlung</em>), Edith Stein attempts to ´specify the particular intentional character of empathy´ (Zahavi 2001, 158). An overall aim for Stein is to find out the elements of what constitutes an individual as an ´other´ for us. A similar aim is present in writings that were conceived partly at the same time within another field of knowledge, that of acting, by the prominent actor and prolific writer on the actor's art Konstantin Stanislavski. In my article, I compare basic ideas in the two writers' works, with further references to writings by Aron Gurwitsch and Alfred Schütz. The conception of the other as an ´other I´, a central element in Stein’s theory about empathy, is also intrinsic in Stanislavski’s conception of the actor’s relation to the role. In the article, I contend that by combining this approach with contextual and situational aspects, Stanislavski can account for the fact that we can reach a refined understanding of an other also without a face-to-face contact.</p> Erik Rynell Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14814 Perspectival truth: Michael Haneke’s «The castle» and the fragmentation of the real https://riviste.unimi.it/index.php/Lebenswelt/article/view/14815 <div> <div>With his 1997 TV adaptation of Franz Kafka’s&nbsp;<em>Das Schloß&nbsp;</em>(<em>The Castle</em>), the Austrian director Michael Haneke explores what he calls «Kafka’s&nbsp;<em>fragmentary</em>, ambiguous perception of reality». Defying TV audience expectations,&nbsp;<em>The Castle</em>&nbsp;develops a specific strategy contrasting with the rapid and overwhelming deluge of information transmission that Haneke points out to be the standard for «electronic media». But more specifically,&nbsp;<em>The Castle</em>’s fragmented style appears to put into question a metaphysical construal of ‘Truth’ and ‘Values’ as self-sufficient dimensions existing, unaffected, behind the sensible world of appearances. This must not lead to a relativistic stance. Rather, such a style brings to light the essential perspectival structure of our experience, calling for an approach to reality that forestalls the dichotomies of true vs. false, essence vs. appearance, or fact vs. interpretation.</div> </div> <div>&nbsp;</div> <p>&nbsp;</p> Claudio Rozzoni Copyright (c) 2021 2021-05-05 2021-05-05 16 10.13130/2240-9599/14815 Rileggere Antigone. Per un’etica della tragedia https://riviste.unimi.it/index.php/Lebenswelt/article/view/14816 <p>This paper deals with the interpretation of Sophocles’ <em>Antigone</em> as developed by Jacques Lacan in the Book VII of the <em>Seminar</em>. In contrast with traditional ethical analyses from Aristotle to Kant, the author emphasizes the absolute and radical desire of Antigone, whose fulfillment leads to the ultimate limit of life. In spite of her extreme rigidity, Antigone represents the possibility of assuming ethically one’s own desire, accepting its paradoxical dimension. Therefore, the psychoanalytic interpretation of the tragedy Antigone leads to accept desire’s destabilizing force. From this point of view, the practice of analysis finds an effective contribution in the experience of tragedy: in this sense, it is possible to highlight the relationship between an action and the desire that inhabits it. Through the contrasting readings given by Slavoj Žižek and Massimo Recalcati, this paper is aimed to show how the ethical dimension of Sophocles’ <em>Antigone</em> does not match with the ideals of traditional ethics, but allows us to explore the limit of human desire.</p> Gioia Sili Copyright (c) 2020 Lebenswelt. Aesthetics and philosophy of experience. 2020-12-21 2020-12-21 16 10.13130/2240-9599/14816 Raoul Moati, Sartre et le mystère en pleine lumière https://riviste.unimi.it/index.php/Lebenswelt/article/view/14944 <p>_</p> Gioia Sili Copyright (c) 2021 Lebenswelt. Aesthetics and philosophy of experience. 2021-01-10 2021-01-10 16 10.13130/2240-9599/14944 M.J. Mondzain, Confiscation des mots, des images et du temps. Pour une autre radicalité https://riviste.unimi.it/index.php/Lebenswelt/article/view/14945 <p>_</p> Ilaria Mannino Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14945 Alfredo Esteve, El arte hecho vida. Reflexiones estéticas de Unamuno, D’ors, Ortega y Zambrano https://riviste.unimi.it/index.php/Lebenswelt/article/view/14946 <p>_</p> Veronica Tartabini Copyright (c) 0 2020-07-01 2020-07-01 16 10.13130/2240-9599/14946