Musical Ontology. A Guide for the Perplexed


What is musical ontology? Why should we as philosophers address it, if ever? These questions constitute the Ariadne’s thread running throughout this whole work. The number of papers, volumes and essays that have recently been dedicated to the topic of art and musical ontology is so vast that trying to get a grip on the debate seems like trying to find ones bearings without a compass. This book is a guide to help hapless readers find their way through this philosophical jungle. It is constructed on three levels: the presentation... Read more →

Aesthetic resistance and dis-interest. That Which Will Not Allow Itself to Be Said

The collusion of galleries, collectors and curators, following the model of studio film and network TV, has equated popularity with quality. The problem then is to recuperate something of the lost radical conscience of art and culture. Art is a recreation of our own psychic formation (mimesis) as well as being shaped by its ‘otherness’ and by history. All stories are crime stories, all stories are about exile, and all stories are about homesickness. And all art contains a narrative. Radical and working class voices are vetted and erased, and... Read more →

The Sensible Invisible. Itineraries in Aesthetic Ontology


The itineraries traced by this book investigate the ontological and metaphysical sense of aesthetic experience. This latter is here understood as the primary experience through which our whole existence as human beings is endowed with the world and can manifest itself. Readers will find two different yet convergent intentions. The first, exquisitely concerned with ontology and aesthetics, develops Merleau-Ponty’s theory on flesh as element in the direction of an ontology of virtuality. Its main aim is to fully grasp a new entity surfacing on the background of being, which is,... Read more →

The Murray Edwards Duse Collection

The Murray Edwards Duse Collection is the best record of Eleonora Duse’s literary background. It puts before us three fundamental facts: first, her literary education began – or became active – around 1886; secondly, it assumed a nationalistic character in the early 1890s; thirdly, her intellectual evolution influenced her acting. So advanced was her artistic and literary emancipation that she was considered one of the foremost Italian aesthetes.

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