Suchergebnisse

Numerous Argentine dystopian narratives of this century revolve around the local neurosis of an involution towards barbarism. The motif of the regression unleashes a decolonizing movement that even reaches one's consciousness. In Un futuro radiante by Plotkin and Schweblin's Distancia de rescate, the configuration of an apocalyptic world highlights the consequences of the policies of current capitalism and leads us to review the foundations of the civilization project and the modernizing program in our country. But in addition, the imminence of the end enables in these texts a new tone emancipated from the vicissitudes of personal life and history that fictionally expresses the "promiscuous" and eminently alien character of identity. The article pauses in the analysis of the narrative strategies and formal procedures used in the texts to compose these two necessarily interconnected universes: the world of law and political control, and the world of intimacy. ; Buena parte de la narrativa distópica argentina de este siglo gira en torno de la neurosis localista de una involución hacia la barbarie. El motivo de la regresión desata un movimiento descolonizador que alcanza incluso la propia conciencia. En Un futuro radiante de Plotkin y Distancia de rescate de Schweblin la configuración de un mundo apocalíptico pone de relieve las consecuencias de las políticas del capitalismo actual y lleva a revisar los fundamentos del proyecto civilizatorio y el programa modernizador en nuestro país. Pero además la inminencia del fin habilita en estos textos un nuevo tono emancipado de los avatares de la vida personal y de la historia que expresa ficcionalmente el carácter "promiscuo" y eminentemente ajeno de la identidad. El artículo se detiene en el análisis de las estrategias narrativas y procedimientos formales empleados en los textos para componer estos dos universos necesariamente interconectados: el mundo de la ley y del control político, y el mundo de la intimidad.

This article explores representations of history and history for the present in Fallout 4 to illuminate how the gameworld makes clever use of common historical tropes and aesthetics, as well as the genre of the counterfactual in its presentation of a compelling and interactive narrative. Set in the post-apocalyptic landscape of Massachusetts, Fallout 4 employs various sites of historical Massachusetts (Concord, Lexington, Boston) in order to draw the user into the story of the 'lone survivor,' the avatar that he or she takes control of. This analysis is interested in the ways that Fallout 4 employs history and the genre of the counterfactual in the production of a compelling narrative that not only invites but impels the player into action to chart a new course for this devastated virtual landscape. The power of counterfactual history lies in its capacity to unravel assumptions about the static nature of historical events, and in its denial of a linear trajectory of history broadly. In the case of Fallout 4, the implementation of a counterfactual story, wherein the nuclear event that shrouded the Cold War period in uncertainty, takes place. It serves as a rejection of the popularly rehearsed narrative of American supremacy triumphing over Communist forces to present the player with a more nuanced interpretation of some of the internal and external tensions that came to define the Cold War period (i.e. cultural malaise, economic instability, the growth of a military-industrial complex). This conflicting presentation of histories both real and imagined provides an opportunity for the player to experience and interact with the game critically as a counterfactual reimagining of the Cold War era. Viewed in this way, the virtual world of Fallout 4 becomes a space where the player can reassess their own understanding of the period, and the nature of historical knowledge production more broadly.

Purpose: This study aims to shed the light on allusions to real lab rats in Dashner's trilogy: The Maze Runner (2009), The Scorch Trails (2010), and The Death Cure (2011). It also aims to trace the historical documents and chronicles essential to reveal the justifications behind the vague political and scientific crimes. Methodology: The researchers have used the literary analytical approach to study and analyze selected prominent aspects from each novel; such as the concept of lab rats and genocide crimes in The Maze Runner; references to weather experiments, the climate change conspiracy, gas chambers, and the Holocaust in The Scorch Trails; and finally, the man-made diseases and biological weapons in The Death Cure. Results: The outcomes confirm the necessity of knowing history whether bright or dark as a keyword to understand the present and predict the future. Also, Dashner has based The Maze Runners series on historical references as well as present-day vital scientific issues to predict a catastrophic future if a decision is not made. Young adult is chosen to lead the revolution against human abusing crimes and make a change. Applications: To develop a high understanding of young adult fiction, the researchers recommend those who are interested in literature with the necessity to apply this study to other post-apocalyptic, survival, adventure, science and dystopian series fictions, movies adaptations of related books, and related video games series that addressing young adults' mind in order to diagnose any dilemma . Novelty/Originality: Hence, this study makes a difference in the sense of exposing the genocide crimes committed by the name of science embedded in Dashner's The Maze Runners series by tracing the historical, social, political, and scientific justifications regarding the concept of human lab rats as one of the worst human abusing experiences still used by tyrant regimes till now in ethnic and sectarian purification.

Hypotyposis is a figure of speech which often appears in written descriptions of natural disasters (e.g. in Voltaire's Poem on the Lisbon disaster, 1756). Its ability to show in the eye of the reader the unfolding of a tragic event through a vivid and dynamic description makes hypotyposis a useful tool in catastrophic and post-apocalyptic fiction. The aim of this contribution is to study the presence and function of hypotyposis in three novels which belong to French Caribbean literature, concerning two volcanic eruptions that took place in the 20th century (Montagne Pelée, Martinique, in 1902 and Soufrière, Guadeloupe, in 1976). By a stylistic and thematic analysis of some selected texts from Raphaël Tardon's La Caldeira (1948), Raphaël Confiant's Nuée ardente (2002) and Daniel Maximin's Soufrières (1987), we will focus on the role of hypotyposis as a creator of pathos and emotional reactions in the reader's mind by which the author can also convey a social and political message. ; Già utilizzata da Voltaire nel suo Poema sul disastro di Lisbona (1756), l'ipotiposi è una figura retorica ricorrente nella rappresentazione letteraria delle catastrofi naturali, particolarmente adatta alla descrizione viva e dinamica, quasi cinematografica, degli avvenimenti narrati. Il presente articolo si pone l'obiettivo di definire la presenza e la funzione dell'ipotiposi in tre romanzi appartenenti alle letterature dei Caraibi francofoni che trattano il tema di due eruzioni vulcaniche avvenute nel XX secolo (quelle della Montagne Pelée, in Martinica, nel 1902 e della Soufrière, in Guadalupa, nel 1976). Attraverso un'analisi tematica e stilistica di alcuni passaggi de La Caldeira di Raphaël Tardon (1948), della sua riscrittura Nuée ardente di Raphaël Confiant (2002) e di Soufrières di Daniel Maximin (1987), verrà illustrato il ruolo fondamentale dell'ipotiposi come figura creatrice di pathos, capace di generare reazioni emotive nel lettore, e come il possibile veicolo di un messaggio politico e sociale.

In this paper I explore the intersections of digital media, psychoanalysis, and the subject through reference to Felix Guattari's notion of the chaosmic spasm, which the Italian philosopher Franco Berardi picks up in his work and most recently his book And. Guattari's idea, which appears in his Chaosmosis, designates the fatal acceleration of the media semio-universe towards spasm, or apocalyptic collapse, and the emergence of some new form of schizoid organisation. Following an exploration of Guattari's idea, and a broader discussion of its relationship to his wider thought and Anti- Oedipal collaborations with Deleuze, I consider how Bernard Stiegler may be seen to provide a meta-historical account of Guattari's concept of the spasm in his Technics and Time. According to Stiegler's account, the hyper-acceleration of media forms results in a process of disorientation and de-subjectivization where the individual is destroyed because of their inability to situate themselves in social, symbolic, structures that have collapsed towards hyper-rational, meaningless forms. In Lacanian terms, psychosis becomes a kind of generalised condition. In response to this generalisation of madness, Stiegler imagines the need for a new politics of knowledge and grammar that is able to suture individuals back into wider social systems and provide the kind of secure, careful, space that D. W. Winnicott writes about in his work on play. In order to unpack what this politics of culture and knowledge might comprise, I turn to Guattari's work on schizoid subjectivity, or endless subjectivization without subjectivity, and Berardi's contrast between financial semio-capitalism and poetry, in order to suggest an ethical mode of thought and cultural expression that might capture the political core of Stiegler's vision and paint a picture of what human thought might look like on the other side of the new media apocalypse, the chaosmic spasm.

Although its performance as universal phenomena, the cultural system of expression used by the subaltern classes or marginalized groups, known as Folkcommunication, has had full scholarly attention almost only in the developing countries. In the singular case of Brazil, it was instituted an academic discipline useful for the linkage between popular culture and mass media. On the contrary of the apocalyptic forecast claiming its gradual weakness caused by the triumph of the media society, we indeed are testifying its resistance and update, by showing robustness in the digital age. Based on an exploratory research focusing the internet, this paper intends do explain how this contra hegemonic media system has increased the world diffusion of the feeling, thinking and acting forms played by the sectors economically excluded, the cultural marginalized communities and the political segregated groups. ; Aunque sea un hecho universal, la Folkcomunicación -como sistema de expresión cultural de las clases subalternas o de los grupos marginados- recibe una atención más destacada de los investigadores en los países recién industrializados. En el caso emblemático de Brasil, el estudio de su resistencia en territorio nacional respalda una disciplina académica, responsable por la construcción de un tipo de saber útil a la interacción eficaz entre cultura popular y comunicación masiva. Al contrario de las miradas apocalípticas de los que profetizaban su gradual agotamiento en la cumbre de la sociedad mediática, se trata de un campo de investigación que se hace fuerte y busca continua actualización. En verdad la Folkcomunicación enseña vigor en la edad digital. Anclados en un estudio de naturaleza exploratoria, pretendemos enseñar cómo ese sistema mediático contra-hegemónico viene potenciando la difusión mundial de las formas de sentir, pensar y actuar de las poblaciones económicamente excluidas, de las comunidades culturalmente marginadas, o de los grupos políticamente segregados.

Transnational migration and questions of identity are amongst the most powerful forces of social transformation in contemporary Europe. Over the past three decades, representations of migrant and diasporic experiences and the dynamics of postmodern multiculturalism have assumed a prominent position in European mainstream and art house cinema (Berger 2010; Berghahn 2010; Loshitzky 2010; Ponzanesi 2011a, 2011b). This proposal explores new ways of unpacking Europe by analyzing conventional as well as experimental cinema genres through postcolonial lenses. It furthermore offers alternative reading of space and mobility in European cinema at the crossways of local, transnational and global re- and deterritorialization which allows not only to redefine Europe from new subjective perspectives but also to rethink the role of cinema as an aesthetic and political medium. Contributions explore questions of postcoloniality in European migrant cinemas from a comparative point of view, integrating on the other hand a corpus of both films made by migrant and non-migrant film-makers. Located between national and transnational modes of production, distribution and reception, migrants cinemas not only rely on the colonial heritage of Europe's past, but also on its consequences in present. Both narration and aesthetics focus, on one hand, on the human flow from Latin America, Africa or Asia to the Old Continent, which on the other hand moves into a self-protecting European fortress. Spatiality occupies a central role in migrant cinema, not only because it foregrounds movement and dislocations, borders and crossings, spaces and non-places, mental journeys and fantasies, but also different forms of heterotopias (Foucault, 1986). These are not just post-apocalyptic science fiction dystopias but integral places within Europe in which marginalization, entrapment and confinement of otherness and deviancy is organized (refugee camps, prisons, detention centers, holding areas, checkpoints, asylum quarters etc.). But whereas these issues ...

Появление больших романов Л. Леонова во многом подготовлено его ранними рассказами 1920-х годов. В статье рассматриваются принципы моделирования художественного мира в одном из ранних рассказов Л. Леонова «Уход Хама». В этом рассказе художник обращается к библейскому мифу о всемирном потопе, который был творчески переосмыслен: писатель подвергает инверсии логику библейского повествования, представляя Ноя как лжеправедника, а Хама как лучшего из его сыновей. Эта инверсия позволила автору проявить образ истории, подошедшей к своим «последним дням». В результате жанровая основа рассказа связана с двумя противоположными типами образов: идиллическим и апокалиптическим. Утрата идиллии связана как с социально-политическими потрясениями пореволюционной России, так и с глубинным прозрением молодого Леонова относительно судеб современной цивилизации. Хам, будучи героем-правдоискателем, вступает в спор с существующим порядком и потому обречен на изгнание, что и становится предвестием будущих катастроф. ; The great Leonov's novels were preceded by his early stories of the 1920s. This article analyzes the principles of artistic design of the world in one of Leonov's early stories "Ham's Leaving". In this story the artist resorts to a biblical myth of the Great Flood, and creatively reconsiders it. The writer exposes to inversion the logic of the biblical narration, presenting Noah as a false holy man and Ham, as the most decent of his sons. This inversion allowed the author to show the logic of history, approaching its "last days". As a result, the genre foundation of the story is related to two opposite types of images idyllic and apocalyptic. The lost of peace occurs due to both a social and political upheaval in Post-revolutionary Russia, and Epiphany of young Leonov regarding the destiny of the modern civilization. Ham, being a hero-justice seeker, enters into an argument with the existing order and, therefore, is doomed to exile, that becomes a harbinger of future disasters.

Figura esemplare per la comunità afroamericana, W.E.B. Du Bois (1898-1963), storico, sociologo, intellettuale e attivista politico, utilizzò la narrativa come ulteriore strumento di analisi sociale. Nel racconto La cometa (1920), soltanto Jim, un ragazzo di colore, e Julia, una ricca ed avvenente ragazza bianca, sopravvivono alle esalazioni mortali di una cometa in una distopica New York dell'inizio del ventesimo secolo. Du Bois fece ricorso a questo espediente narrativo per immaginare la possibile scomparsa dei pregiudizi razziali in un mondo con due soli superstiti, un nero e una bianca. Notevole esempio di prosa che è allo stesso tempo post-apocalittica, speculativa e proto-Afrofuturistica, La cometa si configura come controparte narrativa dei concetti critici – la «doppia coscienza», la «linea del colore» e il «velo» – elaborati da Du Bois nella pionieristica raccolta di saggi Le anime del popolo nero (1903). Il volume presenta il racconto per la prima volta in traduzione italiana con testo a fronte, corredato da una nota biografica e da un saggio introduttivo.An exemplary figure for the African-American community, historian, sociologist, intellectual and political activist, W.E.B. Du Bois (1898-1963) used fiction as a further instrument of social analysis. In the short story The Comet (1920), only Jim, a young black man, and Julia, a rich young white woman, survive the deadly gases of a comet in a dystopian early 20th-century New York. Du Bois employed this narrative device to speculate on whether racial prejudices could be erased in a world with only two survivors, a black boy and a white girl. A remarkable example of fiction that is simultaneously post-apocalyptic, speculative and proto-Afrofuturist, The Comet thus functions as a fictional counterpart of the critical insights – «double consciousness», the «color line» and the «veil» – previously introduced by Du Bois in the groundbreaking collection of essays, The Souls of Black Folk (1903). The volume presents for the first time an Italian parallel-text translation of The Comet, along with a biographical note and an introductory essay

This dissertation is a monograph on Colson Whitehead's fiction and nonfiction from the perspective African American literary tradition. It raises an aesthetic and political question: is Whitehead a postracial writer? In The Intuitionist (1999), the rivalry between black characters and the game of camouflage undermine racial identity politics. The deconstruction of the myth celebrating the sacrifice of a relentless worker desacralizes the black hero of John Henry Days (2001). Apex Hides the Hurt (2006) offers a reflection on language, its relationship to power and racial belonging. The second part explores the paradox of a "postblack" identity with regards to racial stereotypes in Sag Harbor (2009). Finally, the last part signals an effort to redefine the human in Zone One (2011) where an invasion of zombies enables the transcendence of the Black/White binary construct in a post-apocalyptic world. The analysis relies on postmodern criticism since the notion of "race" and racism are addressed through the irony of a text that dramatizes and plays with the idea of a postracial American society. ; Cette thèse est une monographie de l'œuvre romanesque de Colson Whitehead (1969– ) replacée dans la perspective de la tradition littéraire noire américaine. Elle pose une question d'ordre esthétique et politique : Whitehead est-il un écrivain postracial ? Dans The Intuitionist (1999), la rivalité entre les personnages noirs et le jeu de masques mettent à mal une politique identitaire qui repose sur la race. La déconstruction du discours mythique qui célèbre le sacrifice d'un travailleur acharné désacralise le héros noir de John Henry Days (2001). Apex Hides the Hurt (2006) offre une réflexion sur le langage, son rapport au pouvoir et à l'appartenance raciale. La deuxième partie explore le paradoxe de l'identité « postblack » face aux stéréotypes raciaux dans Sag Harbor (2009). Enfin, la dernière partie signale un effort de redéfinition de l'humain dans Zone One (2011) où l'invasion des zombies permet de transcender la ...

This dissertation is a monograph on Colson Whitehead's fiction and nonfiction from the perspective African American literary tradition. It raises an aesthetic and political question: is Whitehead a postracial writer? In The Intuitionist (1999), the rivalry between black characters and the game of camouflage undermine racial identity politics. The deconstruction of the myth celebrating the sacrifice of a relentless worker desacralizes the black hero of John Henry Days (2001). Apex Hides the Hurt (2006) offers a reflection on language, its relationship to power and racial belonging. The second part explores the paradox of a "postblack" identity with regards to racial stereotypes in Sag Harbor (2009). Finally, the last part signals an effort to redefine the human in Zone One (2011) where an invasion of zombies enables the transcendence of the Black/White binary construct in a post-apocalyptic world. The analysis relies on postmodern criticism since the notion of "race" and racism are addressed through the irony of a text that dramatizes and plays with the idea of a postracial American society. ; Cette thèse est une monographie de l'œuvre romanesque de Colson Whitehead (1969– ) replacée dans la perspective de la tradition littéraire noire américaine. Elle pose une question d'ordre esthétique et politique : Whitehead est-il un écrivain postracial ? Dans The Intuitionist (1999), la rivalité entre les personnages noirs et le jeu de masques mettent à mal une politique identitaire qui repose sur la race. La déconstruction du discours mythique qui célèbre le sacrifice d'un travailleur acharné désacralise le héros noir de John Henry Days (2001). Apex Hides the Hurt (2006) offre une réflexion sur le langage, son rapport au pouvoir et à l'appartenance raciale. La deuxième partie explore le paradoxe de l'identité « postblack » face aux stéréotypes raciaux dans Sag Harbor (2009). Enfin, la dernière partie signale un effort de redéfinition de l'humain dans Zone One (2011) où l'invasion des zombies permet de transcender la ...

The new millennium has witnessed a staggering outpouring of literature, film and art which depict dystopian and post-apocalyptic societies. These stories have come in the form of massively popular films like the Matrix and Hunger Games trilogies; Emmy-winning television adaptations such as The Walking Dead; and Pulitzer Prize-winning novels like Cormac McCarthy's The Road, or Kazuo Ishiguro's Booker Prize-nominated Never Let Me Go. In the last five years, a wave of critically-lauded video games – The Last of Us, Bioshock Infinite, and Dishonored come immediately to mind—have depicted dystopian worlds while reaching mass audiences. Combined, The Last of Us and Bioshock Infinite sold over 12 million copies in 2013 alone. The combination of award recognition and mainstream popularity these texts have garnered speaks to their burgeoning cultural significance. John Joseph Adams notes that dystopian stories went through an earlier cycle of cultural prominence in the Western reading world after WWII—a popularity forged in the shadow of the twin horrors of the hydrogen bomb and the Nazi Holocaust. Adams wonders if the genre's sudden resurgence is connected to widespread global conflict: "Is it because the political climate now is reminiscent of the climate during the Cold War? During times of war and global unease, is it that much easier to imagine a depopulated world, a world destroyed by humanity's own hand?" (2). While the concept of "global unease" is certainly central to the re-emergence of fiction that depicts widespread violence, destruction, disease and political strife, the truth is that the international political climate resembles very little of the Cold War. Rather than a long-simmering conflict between established nations with legacies of military and economic might, the contemporary global community is more frequently defined by amorphous entities. International corporations, global community organizations and groups of non-state actors both engage and defy nation-state governments, while individuals, ...

This dissertation is a monograph on Colson Whitehead's fiction and nonfiction from the perspective African American literary tradition. It raises an aesthetic and political question: is Whitehead a postracial writer? In The Intuitionist (1999), the rivalry between black characters and the game of camouflage undermine racial identity politics. The deconstruction of the myth celebrating the sacrifice of a relentless worker desacralizes the black hero of John Henry Days (2001). Apex Hides the Hurt (2006) offers a reflection on language, its relationship to power and racial belonging. The second part explores the paradox of a "postblack" identity with regards to racial stereotypes in Sag Harbor (2009). Finally, the last part signals an effort to redefine the human in Zone One (2011) where an invasion of zombies enables the transcendence of the Black/White binary construct in a post-apocalyptic world. The analysis relies on postmodern criticism since the notion of "race" and racism are addressed through the irony of a text that dramatizes and plays with the idea of a postracial American society. ; Cette thèse est une monographie de l'œuvre romanesque de Colson Whitehead (1969– ) replacée dans la perspective de la tradition littéraire noire américaine. Elle pose une question d'ordre esthétique et politique : Whitehead est-il un écrivain postracial ? Dans The Intuitionist (1999), la rivalité entre les personnages noirs et le jeu de masques mettent à mal une politique identitaire qui repose sur la race. La déconstruction du discours mythique qui célèbre le sacrifice d'un travailleur acharné désacralise le héros noir de John Henry Days (2001). Apex Hides the Hurt (2006) offre une réflexion sur le langage, son rapport au pouvoir et à l'appartenance raciale. La deuxième partie explore le paradoxe de l'identité « postblack » face aux stéréotypes raciaux dans Sag Harbor (2009). Enfin, la dernière partie signale un effort de redéfinition de l'humain dans Zone One (2011) où l'invasion des zombies permet de transcender la ...

A turning point was apparent from the end of the twentieth century in Latin-American literature, after a few uncompleted attempts to search for "totality" through the literary movement of the Latin-American boom of the '60s.Then, a new postmodern literature developed, opposed to the "utopian" objectives of the boom (such as the "total novel", which embraced all the genres, proposed exhilarated eroticism, a metafictional reflection and a political commitment). The writers born in the '50s took over new processes which aimed for "dislocate" literature. Among these processes figure numerous narrative voices, parallel universes, generic hybridity, a "cinematic" (visual and sonorous), fragmented writing, scattered with flashbacks and flash-forwards.In order to analyze the limits of literary totality –more accurately, novelistic totality– and to define this postmodern "dislocated", "antitotal" writing, I focused on three works which cover the years 1995-2010, published by Spanish-American writers from diverse countries (even though they belong to the same postmodern or postnational generation), being spread through a proper aesthetics, but sprinkled with communal characters, reflection on literature and atmosphere/tone.Mario Bellatin's fragmentary, short and polyphonic novel Flores (2004) relates many criss-crossed stories, in an indeterminate and claustrophobic space, in which characters are come down to their "body".Vidas perpendiculares (2008), by the Mexican Álvaro Enrigue, uses the same strategy as a "puzzle", as stories' fragmentation and simultaneity. Here, the narrator recounts five love stories which left a mark on the life of one character, Jerónimo, in the form of successive "reincarnations", on an ironic and pleasant tone.As for the long (anti)total and apocalyptic novel of the Chilean Roberto Bolaño, 2666 (2004), it evokes the destiny of many characters –most of them related to the literary world– in the fictional city of Santa Teresa (Ciudad Juárez).The Mexican Jorge Volpi entitled one of his most ...

'Apocalypse' and 'catastrophe' conjure up misfortunes, evoking final events marked by disastrous endings. The etymologies of both terms, however, recall different meanings – revelation (apokalypsis) and overturning (katastrophe), respectively – that allow us to read all endeavors of language and thought to totalize history and meaning against the grain. What happens when the end does not come to an end, when the absolute turns out to be conditioned, when the logos is confronted by its impossibility to signify? Catastrophic outcomes retroactively transform the processes from which they result and may be interpreted as refutations that sabotage the very aims guiding such ventures. Yet apocalyptic reversals do not prevent us from making the wager to totalize. Indeed they reveal and challenge the idea of a 'cunning of totality'. Through discussions on Hegel, Sophists, Lacan, Kojève, and Wittgenstein, this conference aimed to explore the dangers, crises, and compulsions at stake in theoretical engagements with the notion of totality. Sara Fortuna is professor of philosophy of language at the Università degli Studi Guglielmo Marconi and associate member of the ICI Berlin. Her recent publications include The Power of Disturbance: Elsa Morante's 'Aracoeli' (2009; co-ed. with Manuele Gragnolati), Dante´s Plurilingualism (2010; co-ed. with Manuele Gragnolati and Jürgen Trabant); Il giallo di Wittgenstein (2009), Wittgensteins Philosophie des Kippbildes (2012), On Dogville (2012). Fiorinda Li Vigni is associate researcher at the Istituto Italiano di Studi filosofici – Scuola di Roma. Among her books are Jacques D'Hondt et le parcours de la raison hégélienne (2005); Protagora e l'arte della politica (2010), Il concetto di astratto nel giudizio sulla Rivoluzione francese. Burke, Maistre, Cuoco, Hegel, Marx (2006). Paolo Vinci is professor of practical philosophy at the Sapienza Universitá di Roma and associate member of the Istituto Italiano per gli Studi filosofici – Scuola di Roma. Among his recent publications: "Coscienza ...