Call for papers
Itinera, 21 (2021)
Is the sublime now?
The sublime is a concept that has never ceased to attract and to fascinate scholars. In its classical formulation, it dates back to the eighteenth century, but some of the issues that characterize its origin – such as the border between representation and the unrepresentable, or between form and formless, pleasure and terror – return strongly in contemporary thinking. In this regard, opinions are divided. Is the sublime an already outdated notion that can only be discussed from a historical point of view? Or does it also contain important elements for the current philosophical debate? Moreover, have the transformations that the sublime has undergone in the contemporary world substantially distorted it, or have they instead brought to light some new possible implications of this concept? This issue of "Itinera" is dedicated to these and other similar questions, starting from the traditional definitions of the sublime between the eighteenth and nineteenth centuries, until its most recent interpretations. Some examples of topics that may be addressed are:
The traditional definitions of the sublime and their implications for the current philosophical
The history of the reception (or less favourable fortunes) of the sublime
- The sublime in the arts, from the eighteenth century to today
- The sublime and the relationship between man and nature
- The possible contemporary interpretations of the sublime
- The sublime and color
- The sublime and neuroscience
- The sublime and wonder: psychological and pedagogical approach
- The sublime and awe: complex experiences and transformation in psychology
Papers can be written in Italian, English, Spanish or French
Deadline for submission: 30th April 2021
Expected Release: July 2021
Alice Barale (email@example.com)
Alice Chirico (firstname.lastname@example.org)
Claudio Rozzoni (email@example.com)
Itinera, 22 (2021)
Diderot: Space and Movement
Newton and modern science, especially Mathematics and Physics, have completely changed the concepts of space and movement. Unlike other thinkers of that century, among whom Immanuel Kant stands for his remarkable thought, the new concepts of space and movement don’t seem to have influenced Diderot’s thinking effectively.
In his analysis about ontological and representational elaboration of these concepts in Diderot’s works, François Pépin has pointed out that the philosopher didn’t reject the universal and abstract conception of space claimed by mechanism and Newtonianism. Space wasn’t a central notion in Diderot’s materialistic philosophy. In fact, in his works there is an elaboration of that concept which can be defined as aside. Space is not a neutral physic space but it is more similar to something dynamic, concrete and plural.
Jean Starobinski has shown that, in aesthetic field, XVIIIth century represents a moment of overthrowing the hierarchical organization of space, which was a typical and central perspective of Art in the previous centuries. Multiplication of points of view and variation of the movement of the scene are emblematic of this period, also on a symbolic level. In Diderot’s considerations upon Arts there are elements close to that conception of space and movement.
Moreover, in his Salons Diderot seems to consider paintings as dynamic and crossing spaces experienced through description and imagination. Many questions arise connected to this statement: in what way the rhetoric figure of ekphrasis used by Diderot contributes to this effect? How does the philosopher conceive space in paintings? And in sculpture? What is the relation between space and movement in visual Arts? Just to list a few examples.
The reflection about space and movement does not only concern visual Arts, it comes to light even in the pages dedicated to dramatic Art and in literary works.
It is known that Diderot’s reflection about theatre represents a fundamental contribution for the innovation of the scene and of the genres, particularly with the introduction of the new bourgeois’ drama. There are some interesting philosophical elements about space and movement’s conception even in this field. For example, the conception of the theatrical scene as a succession of pictures or the concept of movement as gesture and pantomime. It can be considered also the decisive debate of that time about the role of theatre in society and the different idea of the theatrical space conceived by Diderot and Rousseau.
Finally, space is a crucial element also in novels and tales where it is integral part of the interactions between characters. Especially in Jacques le fataliste et son maître, the characters are constantly moving and this aspect can be seen through a philosophical point of view. How has Diderot envisaged the places that the protagonist passes through or stays in? What is the relation between characters and places? How space and movement are represented in others novels and tales? The answers to these questions bring out new aspects that have not been touched by literary critics yet.
Topics include but are not limited to:
- The concept of space in Diderot’s works of aesthetics (painting, sculpture, architecture, theatre, literature, music);
- The concept of movement in Diderot’s works of aesthetics (painting, sculpture, architecture, theatre, literature, music).
- The relation between space and movement in Diderot’s works of aesthetics (painting, sculpture, architecture, theatre, literature, music).
- The comparison between Diderot’s concepts of space and movement in aesthetics and other contemporary authors.
Deadline for submission: 15th July 2021
Expected Release: December 2021
Editor: Valentina Sperotto (firstname.lastname@example.org)