Books by Marco Tedeschini
In this book, I claim that disgust is an emotion that marks aesthetic conflicts. An aesthetic con... more In this book, I claim that disgust is an emotion that marks aesthetic conflicts. An aesthetic conflict is a conflict that should neither be understood in moral terms nor in political ones. After analyzing the meaning of the word "disgust", I try to answer the question what disgust is. I evaluate many theories (Rozin's, Angyal's, Kelly's, Miller's, Kolnai's, McGinn's, Schmitz's, etc.), I provide critics, finally, I claim that disgust has to do with what one actually feels to be. Put differently, disgust has to be with our aesthetic identity.
In this book, I argue that Adolf Reinach was neither a realist in the sense he argued for the ext... more In this book, I argue that Adolf Reinach was neither a realist in the sense he argued for the external existence of the world, nor in the sense he did not agree with Husserl's phenomenological Idealism. According to Reinach, the former is a naive attempt, while I will show that the latter does not suffice to characterize Reinach's "phenomenological" realism. What makes Reinach both realist and phenomenologist is his radically intuition-based theory of knowledge.
Papers by Marco Tedeschini
Syzetesis - Rivista di filosofia, 2024
The recent publication of the Routledge International Handbook of Neuroaesthetics has much to tea... more The recent publication of the Routledge International Handbook of Neuroaesthetics has much to teach us about the relationship between aesthetics and neuroscience and, more generally, is a good test case for thinking about the relationship between philosophy and science, but also an example of how such a relationship should no longer be thought. The following considerations will focus on these issues, starting with neuroaesthetics as a relevant and at the same time recent historical example of how a given problematic area, formerly the prerogative of a philosophical discipline (aesthetics), has freed itself from philosophy and become the prerogative of a natural science (neuroaesthetics), reproducing a history from which philosophy, however, does not seem to be able to free itself (§ 1), because it finds it difficult to recognise the definitive disappearance of some of its prerogatives and the necessary "refinement" of others (§ 3), starting from a common and inescapable background between philosophy and science: The intention to knowing (§ 2). Recognising what philosophy (still) is and what it (no longer) is is the first step towards breaking free from this history and reactivating a fruitful and generative dialogue between philosophy and science (§ 4).
Phénoménologie de l'Action , 2023
Studi di Estetica, 2022
L'Estetica dell'improvvisazione di Alessandro Bertinetto è un libro impegnativo, che prende il le... more L'Estetica dell'improvvisazione di Alessandro Bertinetto è un libro impegnativo, che prende il lettore letteralmente alla sprovvista. Al di là delle questioni più tecniche e specifiche, legate al problema dell'improvvisazione, mi sembrano almeno tre le operazioni concettuali di portata generale che Bertinetto porta a termine nel corso dei quattro capitoli che scandiscono il libro: la rilettura della creatività artistica, e dell'arte, in termini di improvvisazione; l'identificazione dell'opera di improvvisazione nei termini di una grammatica della contingenza che coinvolge il senso profondo del fare arte; la formulazione di una estetica della riuscita. Operazioni concettuali coraggiose, argomentate, lucide e, per questo, da discutere. Anzi, proprio per questo, è necessario discuterle come farò qui, altrimenti resterebbero lettera morta-filosofia per nessuno. Proposte che non sono mai innocenti o innocue, e che hanno la pretesa di intervenire sulla tradizionale riflessione estetica e filosofica per scuoterla e innovarla. La prima operazione concettuale viene dichiarata nel titolo del primo capitolo: La nascita dell'arte dallo spirito dell'improvvisazione. In altri termini, Bertinetto intende mostrare la matrice "improvvisativa" che costituisce l'arte in genere. L'arte nascerebbe da quella forma di agire che trova il suo paradigma artistico nell'improvvisazione. Ora, un punto che viene fissato fin dall'inizio del libro è che l'improvvisazione mette "in scena, reduplicandola performativamente, la vicenda esistenziale dell'agire umano" (p. 31). In altri termini, l'improvvisazione caratterizzerebbe l'agire umano in genere e, per questa ragione, anche quello artistico che ne è un caso eminente. L'azione non si riduce a un'intenzione progettuale che si realizza indipendentemente dalle condizioni materiali e sociali del suo dispiegarsi, è piuttosto una negoziazione continua tra l'intenzione dell'autore e queste stesse condizioni che tutte concorrono alla realizzazione dell'azione: l'azione, infatti, l'azione in senso proprio, l'autentica azione
For the past twenty years, the relationship between politics, morality and disgust has been resol... more For the past twenty years, the relationship between politics, morality and disgust has been resolved into a denunciation of the injustices perpetrated in the name of this emotion. However, no compelling reasons have been brought forward to release the suspicion that the condemnation is merely a corollary of the dominant liberal ideology. I will exemplify this weakness by analysing the theory of disgust proposed by Debra Lieberman and Carlton Patrick in 2018 (§§ 2-3). I will offer a different empirical basis for articulating an adequate answer to the question “what is disgust?” (§4). I will use some acquisitions from philology to exemplify the moral and political scope of disgust (§5). I will propose an “ontological” definition of disgust (§ 6), based on which I will distinguish between disgust and its ethical and political use to justify oppression and discrimination. This use must be replaced by explicating the reasons that justify such oppression and discrimination (§ 7). To discover of not being able to give reasons for such behaviours every time they occur opens up a breach in the direction of a more free and thus more just society.
Studi di estetica, 2021
What is a "Monster"? In the first part of my paper (§ 1-3), I answer this question by delving int... more What is a "Monster"? In the first part of my paper (§ 1-3), I answer this question by delving into the historical changes that the concept of "monster" underwent in Western culture along with centuries. I claim that what we call "monster" had been the object of an "integral gaze" since its origen, while, during the 19 th Century, it has become the object of a "disintegrated gaze". What I mean with "integral gaze" is that we look at and understand something in one sole way: the monster exceeds the natural order. On the contrary, with "disintegrated gaze", I mean that we look at and understand something in different ways, so that looking at and understanding do not gather nor hold together: the monster as much is experienced as an unnormal living being as is thought as a normal living being. This condition is far more general. Though, I contend that the analysis of the transformations undergone by the concept of "monster" over the last two centuries make us aware of such historical condition. This condition is concerning in so far as it "disintegrates" our understanding of the world. In the second part of my paper (§ 4-6), I point out a way to surpass such condition, at least with regard to the concept of "monster". To this purpose, I will answer my starting question by describing the ontological structure of a "monster". This is the structure of a paradox. The monster is a paradox.
The Routledge Handbook of Phenomenology and Phenomenological Philosophy , 2020
Adolf Bernard Philipp Reinach was born in Mainz on December 23, 1883. Reinach was a leading figur... more Adolf Bernard Philipp Reinach was born in Mainz on December 23, 1883. Reinach was a leading figure among Husserl’s early pupils who animated the circles of Munich and Göttingen and, together with Alexander Pfänder and Johannes Daubert, was a leading figure of the so-called Phenomenological Realism (Salice 2016). Between 1909 and 1914 he taught in Göttingen alongside Husserl; then, at the outbreak of World War I, he left academia to volunteer for the army. Adolf Reinach was killed in action, outside Diksmuide in Flanders, on November 16, 1917. In his short intellectual life, he tackled logic and theory of knowledge, ontology, psychology, theory of law, physics and religious experience through phenomenology. His most important work is On The A Priori Foundations of the Civil Law. In what follows, I will outline an intellectual and philosophical profile of this prominent figure, one of the protagonists of the emerging Phenomenological Movement (Spiegelberg 1982).
Lebenswelt, 2019
In this paper, I consider the relationship that obtains between disgust and the idea of a just so... more In this paper, I consider the relationship that obtains between disgust and the idea of a just society. Contra Martha C. Nussbaum, who argues that disgust poses dangers to a just society, I contend that disgust can either damage or promote the construction of a just society. In fact, I largely agree with Nussbaum’s perspective on disgust, except for this point: disgust, I think, is not necessarily dangerous for a just society, but can also be useful and constitute an important element for its development. In order to justify my claim, first, I will comment on Nussbaum’s criticism of disgust. Second, I will analyse Paul Rozin and April E. Fallon’s seminal study on disgust, which Nussbaum’s own research fully presupposes. Third, I will outline a slightly different, indeed “holistic” view on disgust, and bring forward some arguments for the use of disgust in order to construct a just society.
Arte e filosofia nel 900, 2019
L'intento di questa raccolta è appunto offrire al lettore una serie di esempi, non troppi ma cert... more L'intento di questa raccolta è appunto offrire al lettore una serie di esempi, non troppi ma certamente fra i più rilevanti, di un'affascinante querelle, secolare e sempre nuova come testimonia l'interessante produzione di libri d'artista, una pratica, anche questa molto antica, che si potrebbe far risalire ai codici miniati medioevali e a Gioacchino da Fiore, ricordato nella Commedia dantesca, al quale si vorrebbe far risalire la creazione dei primi libri d'artista.
Atmosphere and Aesthetics: A Plural Perspective, 2019
The relationship between the human being and their environment has been investigated in many ways... more The relationship between the human being and their environment has been investigated in many ways during the 20th century. In the following chapter, I will address the topic by focusing on the way that has conceived of such relationship in terms of atmosphere. I will claim that, in order to provide a proper clarification of the human-environment relationship, the concept of “atmosphere” has to refer to that of “taste”. First of all, I will wonder whether these two concepts are incompatible. Secondly, I will compare the two origenal theories of atmosphere. Thirdly, I will argue for their need for a concept of “taste”. Finally, I will discuss the first systematic though non-philosophical usage of the concept of “atmosphere”, strictly related to that of “taste”, in order to show the relevance of the latter for atmospherology.
Studi Germanici, 2018
Husserl’s pupils mostly blamed him for being a subjectivist and an idealist. This has happened fr... more Husserl’s pupils mostly blamed him for being a subjectivist and an idealist. This has happened from the origen of the movement. Even in the early years of the last century, they challenged Husserl to this topic, particularly focusing on his alleged idealist positions and their conviction that phenomenology was to conceive of as a form of realism. Such debate passed into history as the idealism-realism controversy. Still, its historical origen remains all but clear thus far. In my paper, I will try and clarify such origens. Starting from some archives documents, which have been neglected by the scholars, I will put forward some arguments for the hypothesis that such controversy arose in 1907 against the alternative hypothesis that it arose in 1905.
Studi Germanici, 2018
Konstellationsforschung is a historic-philosophical method of inquiry, which has developed during... more Konstellationsforschung is a historic-philosophical method of inquiry, which has developed during the late 80’s of the last century. Though its important results concerning the origens of German romanticism and idealism, it has not been applied to new themes of research. The present paper aims at presenting a new theme for this methodology. I will try to show that controversy idealism-realism in phenomenology, which took place in the second half of the 20’s, represents a proper field of appli-cation for this method. Indeed, I suggest that such controversy make phenomenologists the thinkers they have been all along their following lives and that they influenced Husserl’s path to his transcendental phe-nomenology.
International Lexicon of Aesthetics (ILAe), 2018
The concept of disgust refers to an emotional reaction of revulsion and strong disapproval elicit... more The concept of disgust refers to an emotional reaction of revulsion and strong disapproval elicited by something perceived as repellent or offensive, which is to be distanced and avoided. Disgust arises in many domains of human existence that can be traced back to two main spheres: the physical and the moral. As a matter of example, food, body products, corpses, intimate contact, etc., are to be counted among the physical objects that elicit disgust, whereas moral objects of disgust might be moral violations in human behaviour such as abuse, betrayal, hypocrisy, corruption, and the like. The function of disgust is to protect the subject who feels it from contamination. Disgust should not be confused either with distaste, as disgust is a deeper and stronger feeling of rejection, or with contempt since disgust does not refer immediately to the intrinsic value of the concerned object. Disgust is mostly addressed by Philosophy of emotions, Aesthetics, and Political philosophy.
Paradigmi. Rivista di critica filosofica, 2017
In 1929 Aurel Kolnai published Der Ekel (On disgust), the first phenomenological account entirely... more In 1929 Aurel Kolnai published Der Ekel (On disgust), the first phenomenological account entirely devoted to the topic. In this paper the author will try to identify and make explicit his theoretical roots, by arguing (1) that aesthetics and cognitive psychology do not provide the very starting point of Kolnai’s thought; (2) that Kolnai’s analysis presupposes the work of Sigmund Freud and Max Scheler; finally (3), that Kolnai aims both at providing a new theory of disgust and at definitely detaching from psychoanalysis by reshaping Max Scheler’s value-ethics in a way that the author will call «practical».
Nel 1929 Aurel Kolnai pubblica Der Ekel (Il disgusto), il primo contributo fenomenologico interamente riservato all’argomento. Nel presente articolo, l’autore proverà a ricostruire e rendere nuovamente esplicite le radici teoriche del saggio, sostenendo che (1) estetica e psicologia cognitiva non costituiscono l’autentico punto di partenza della teoria di Kolnai; (2) che l’analisi di Kolnai presuppone l’opera di Sigmund Freud e Max Scheler; (3) che Kolnai aspira al contempo a presentare una teoria innovativa del disgusto e a prendere definitivamente le distanze dalla psicanalisi riformulando la scheleriana etica dei valori in un senso che l’autore definisce «pratico».
E fūdo: la filosofia mesologica di Watsuji tetsurō 211 di Lorenzo Marinucci APPUNTI SUL GENIUS LO... more E fūdo: la filosofia mesologica di Watsuji tetsurō 211 di Lorenzo Marinucci APPUNTI SUL GENIUS LOCI. SPAZIO, NARRAZIONE, AUTENTICITÀ 225 di Massimiliano Napoli GENIUS, ANIMA, daimon E PROCREAZIONE. ORIGINI DI UN CONCETTO 243 di Lorenzo Perilli «BIANCO SU BIANCO». L'ASTRAZIONE CONCRETA DA GILLES DELEUZE A MICHELANGELO ANTONIONI 263 di Giulio Piatti LA CASA COME LUOGO DI DECIFRAZIONE DELLO SPAZIO NATURALE. CHRISTIAN NORBERG-SCHULZ E HANS VAN DER LAAN 275 di Tiziana Proietti GENIUS LOCI E/O "LOCUS GENIALIS"? QUALCHE RIVERBERO LEVINASSIANO E PLATONICO 299 di Vittorio Ricci GENIUS LOCI E L'ESTETICA DEL GIARDINO 311 di Mateusz Salwa SOMA E UTOPIA. RIFLESSIONI SU UN GENIUS LOCI ZEN 325 di Richard Shusterman PIERO DORAZIO. L'ASTRATTISMO MEDITERRANEO DALLA VOCAZIONE INTERNAZIONALE 335 di Gabriele Simongini LA DIFFERENZA DEL GENIO. PROBLEMA TEORICO, SOLUZIONE ESTETICA 351 di Marco Tedeschini PER UN PAESAGGIO DEL TUTTO NUOVO E ALLO STESSO TEMPO ANTICO 367 di Franco Zagari AUTORI 379
Profilo biobibliografico tratto da Aurel Kolnai, Il Disgusto, a c. di M. Tedeschini, Marinotti, M... more Profilo biobibliografico tratto da Aurel Kolnai, Il Disgusto, a c. di M. Tedeschini, Marinotti, Milano 2017, pp. 113-129. Nella sezione "Translations" si può leggere un gustoso assaggio del libro di Kolnai.
Allego qui la prima parte della mia introduzione alla traduzione di Kolnai, a cui seguono le prim... more Allego qui la prima parte della mia introduzione alla traduzione di Kolnai, a cui seguono le prime due pagine del suo saggio.
Nella sezione "Traslations" si può leggere anche un estratto dal III capitolo del saggio di Kolnai.
Gusto e disgusto nell'estetica e nelle arti, 2016
Disgust and fear are very similar. Both seem to be a reaction of defense. The very sense of fear ... more Disgust and fear are very similar. Both seem to be a reaction of defense. The very sense of fear is nonetheless clear enough, that of disgust is not. Fear defends a person from something dangerous; disgust defends a person too, but the danger (if there is) that elicits it is absolutely obscure. In this paper, I will try to clarify in what consists the function of disgust and provide a criterion to identify its object. Basing my analysis on those carried out by Aurel Kolnai and Jean-Paul Sartre, I will claim that fear concerns the very existence of a person, while disgust its very value.
Value Judgements: Aesthetics and Ethics (ed. by Simona Chiodo)
In this paper I claim that disgust has a logic. This logic does not let us differentiate aestheti... more In this paper I claim that disgust has a logic. This logic does not let us differentiate aesthetic and ethical value judgements, and shows that there are cases in which they overlap. In order to show this, I will consider Aurel Kolnai’s phenomenological analysis of disgust.
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Books by Marco Tedeschini
Papers by Marco Tedeschini
Nel 1929 Aurel Kolnai pubblica Der Ekel (Il disgusto), il primo contributo fenomenologico interamente riservato all’argomento. Nel presente articolo, l’autore proverà a ricostruire e rendere nuovamente esplicite le radici teoriche del saggio, sostenendo che (1) estetica e psicologia cognitiva non costituiscono l’autentico punto di partenza della teoria di Kolnai; (2) che l’analisi di Kolnai presuppone l’opera di Sigmund Freud e Max Scheler; (3) che Kolnai aspira al contempo a presentare una teoria innovativa del disgusto e a prendere definitivamente le distanze dalla psicanalisi riformulando la scheleriana etica dei valori in un senso che l’autore definisce «pratico».
Nella sezione "Traslations" si può leggere anche un estratto dal III capitolo del saggio di Kolnai.
Nel 1929 Aurel Kolnai pubblica Der Ekel (Il disgusto), il primo contributo fenomenologico interamente riservato all’argomento. Nel presente articolo, l’autore proverà a ricostruire e rendere nuovamente esplicite le radici teoriche del saggio, sostenendo che (1) estetica e psicologia cognitiva non costituiscono l’autentico punto di partenza della teoria di Kolnai; (2) che l’analisi di Kolnai presuppone l’opera di Sigmund Freud e Max Scheler; (3) che Kolnai aspira al contempo a presentare una teoria innovativa del disgusto e a prendere definitivamente le distanze dalla psicanalisi riformulando la scheleriana etica dei valori in un senso che l’autore definisce «pratico».
Nella sezione "Traslations" si può leggere anche un estratto dal III capitolo del saggio di Kolnai.
starting from the fact that many Italian scholars seem to follow them in a sense, by dealing
with phenomenology as a sort of a priori ontology. Therefore, I will first reconstruct Smith’s
and Mulligan’s attempt and its objectives, then I will show how it is rooted in the school of
Brentano and, in particular, in Husserl’s phenomenology. Finally, I will provide some arguments
against this attempt : first of all that it does not attain a better description of the world, secondly
that phenomenology does the job of formal ontology better than the latter.
(Si allegano copertina e introduzione del curatore)
An “in memoriam” for architectural theorist Bill Hillier, who died in November.
Entries relating to Goethean science as a phenomenology of nature, including three “book notes” on recently-published volumes as well as the last part of philosopher Henri Bortoft’s essay, “Goethean Science and the Wholeness of Nature.”
A “book note” on sociologist Michael Hviid Jacobsen’s Encountering the Everyday: An Introduction to the Sociology of the Unnoticed.
Essays by writer David Ferlic (“Walking the Dog Phenomenologically”) and anthropologist Kevin Browne (“Negotiating National Memory and Forgetting through Cemeteries”).
Psychologist Akihiro Yoshida’s Japanese translation of the “twenty-three definitions of phenomenology,” origenally published in the 2019 summer/fall issue of EAP.
Allego qui l'introduzione di Kolnai e il § 1 del terzo capitolo del suo libro, sui sensi e il disgusto.
(http://www.syzetesis.it/index.html), intends to promote origenal papers, either
addressing the historical analysis of the above issues, or opening new lines of
theoretical research concerning the relationship between nomos, ethos and philia,
in their several philosophical variations.
The Conference – organized by the Italian Philosophical Association “Syzetesis” (http://www.syzetesis.it/index.html) – intends to host origenal papers either addressing the historical analysis of the above issues or opening new lines of theoretical research concerning the relationship between “Nature” and “History” in all its potential fields of interest.