1992
DOI: 10.22201/iifs.18704913e.1992.38.597
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Remo Bodei, <i>Geometria delle passioni. Paura, speranza felicità: filosofia e uso politico</i>

Abstract: Las reseñas no incluyen resumen.

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Cited by 3 publications
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“…43 Patrizi looks back on classical eudemonism and defends the preservation instinct of every living being: he would thus later reconfigure the relation between passions and virtues, paving the way for post-Cartesian modernity and the revolutionary horizons of self-liberation of Spinoza's ethics. 44 Perhaps, then, Petruchio would have done well not to forget the spirited and salacious warning of the Italian humanist Ortensio Lando, who had seen in the habitus of the obedient and caring woman the antiphrastic sign of fraudulent conduct: 'The wives' modesty makes them too overbearing, too daring, and less fearful of their husbands; thus we should rejoice if they are dishonest rather than modest, because they would be less insolent, less troublesome and less proud'. 45 The defeated and submissive woman of the closing scene of the play, the modest woman, coy and tamed like the obedient horse, emblem of anger, of the Horatian passage quoted in the opening section of this article, seems in the end to hide, behind the impeccable conduct of the finally modest Kate, the mocking adulterous wisdom of the dishonest wives of Lando's paradox.…”
Section: Résumémentioning
confidence: 99%
“…43 Patrizi looks back on classical eudemonism and defends the preservation instinct of every living being: he would thus later reconfigure the relation between passions and virtues, paving the way for post-Cartesian modernity and the revolutionary horizons of self-liberation of Spinoza's ethics. 44 Perhaps, then, Petruchio would have done well not to forget the spirited and salacious warning of the Italian humanist Ortensio Lando, who had seen in the habitus of the obedient and caring woman the antiphrastic sign of fraudulent conduct: 'The wives' modesty makes them too overbearing, too daring, and less fearful of their husbands; thus we should rejoice if they are dishonest rather than modest, because they would be less insolent, less troublesome and less proud'. 45 The defeated and submissive woman of the closing scene of the play, the modest woman, coy and tamed like the obedient horse, emblem of anger, of the Horatian passage quoted in the opening section of this article, seems in the end to hide, behind the impeccable conduct of the finally modest Kate, the mocking adulterous wisdom of the dishonest wives of Lando's paradox.…”
Section: Résumémentioning
confidence: 99%
“…Consentono infatti di affrontare situazioni contingenti, anticipando scelte e conseguenze future attraverso la capacità di riassumere le informazioni secondo modelli più o meno stereotipati di agito: la componente emotiva, in altre parole, predice, guida e orienta la cognizione e i giudizi morali al pari di ogni altro tipo di giudizio che affonda nell'intuizione e nel rapporto umano (D'Ambrosio 2019). L'affettività accompagna la nostra percezione e non si sovrappone dall'esterno: i processi cognitivi sono coinvolti nelle emozioni, anzi emozioni e cognizioni non sono facoltà opposte e incompatibili (Frjida 1993;Bodei 1997;Furedi 2008;Hochschild 2006). L'esperienza emozionale può essere adeguatamente compresa in termini sociologici come un'esperienza cooperativa mai sottratta, nella sua necessaria componente percettiva e pre-cognitiva, a una dimensione di intersoggettività pratica.…”
Section: Introduzioneunclassified
“…Algunos de estos trabajos encuentran inspiración en la obra de Spinoza, en su reivindicación de la estrecha relación entre cuerpo y mente para explicar la acción humana (Damasio 1994(Damasio y 2003, que deja en evidencia el error cometido por Descartes en su concepción racionalista del mundo. Para Bodei (1991), en Spinoza estaría la clave para entender, desde un punto de vista político, el antagonismo mantenido durante siglos entre razón y pasiones.…”
unclassified