In this paper I will analyse the religious issue in the late Kantian work. I argue that Kant's reflections on Christianity have to be strictly connected with those on law and history. This connection lead us to the political theological problem which is crucial in the case of Hegel as well. In the Encyclopedia Hegel explicitly takes inspiration from Kant who thinks that the problem of that age is the relation between religion and law. That is why Kant cannot be considered a liberal thinker because religion is not a mere private question for him but it has a public importance within his modern conception of history. In this sense, I also argue that Kant's judg-ment on Christianity is more negative than that of Hegel who attributes a more positive value to religious beliefs in the history of Spirit.
n this article I propose to point out some important affinities between Carl Schmitt and Augusto Del Noce. These two important catholic thinkers understood the profound relationship between atheism and technique. This topic is very interesting to understand the "spiritual" genesis of the "affluent society" and, above all, to understand an important aspect that has led to the affirmation of the ideology of neoliberalism. These topics are fundamental to current catholic philosophical thought, which after Vatican CouncilII has to confront Modernity.
Antonio Rosmini is considered one of the leading Catholic philosophers in modern age. His reflections on politics, law and society can be very useful in facing the challenges coming from the so-called populist movements. M. Nicoletti suggests, in his last work, to consider Rosmini's conception of human person not only as theLeitmotivof his political philosophy but, broadly speaking, as the real chance to build a society in line with the great tradition of Modernity and Christian values.
In this essay, I propose to look at Habermas' recent work like an implicit recognition of the theoretical value of some Carl Schmitt's ideas. Regardless of the harsh criticism that Habermas manifests towards Schmitt's political theology in his latest essays.
Adorno's thought can be considered like an attempt, after Nietzsche, to save a form of critical-negative philosophy. Adorno, and more in general Critical Theory, have to be thought like alternative to the several form of postnietzscheian philosophy from Heidegger to Foucault and postmodernist thinkers. However, the internal developments of the Frankfurt School (Habermas, Honneth) shed light on some limits of Adorno's thought.
Ravenna, early Christian monuments and wall mosaics express the new ideology of Christian art. The tessellatum reveal that a large variety of materials and colours were used for the execution of the mosaics: glass, glass paste tesserae including those with silver and gold leaf, stone, ceramic, marble, and mother-ofpearl. The beautiful materials are combined with skill and surprising chromatic sensitivity. The tesserae are cut in regular and consistent sizes for the base and others shaped ad hoc as if they were brushstrokes of glass. From the frst monuments (Mausoleum of Galla Placidia, Battistero Neoniano) to the second (Battistero Ariano, Sant'Apollinare Nuovo, San Vitale) we can see a change signifcative and interesting, from the nature represented in all her splendor and naturalism, (acanthus plants, foral candelabras, gardens of plants and fowers, viridarium, (herbs garden), we step by step leave the azure and the blue of the sky to pass to mosaics with golden background. Because the tesserae in gold are the best way, in this period, to show the light of the transcendence, and to show the glory of Christ, the power of the church, and in the monuments of Ravenna we have the most important evidence. In many mosaic representations we can see with great clearness the polemical spirit of anti-Arianism, and a clear affrmation of Catholic Orthodoxy in the town where the Aryan Teodorico, had reigned for thirty years. Many monuments of the V-VI century in Orient were destroyed in the ancient time for ideological and political reasons for this reason Ravenna is a privileged place to follow the changes ideological and stylistic. ; Ravenna, erken dönem Hıristiyan anıtları ve duvar mozaikleri Hıristiyan sanatının yeni ideolojisini ifade etmektedir. Tessellatum, mozaiklerin yapımında çok çeşitli malzeme ve renklerin kullanıldığını ortaya koymaktadır: Gümüş ve altın varak, taş, seramik, mermer ve sedefi olanlar da dahil olmak üzere cam, cam macunu tesseraları. Güzel malzemeler beceri ve şaşırtıcı derecedeki renk hassasiyetiyle birleştirilmiştir. Tesseralar zemin için düzenli ve uygun boyutlarda kesilir ve diğerleri sanki camdan fırça darbeleri gibi özel şekillendirilirdi. İlk anıtlardan (Galla Placidia Mozolesi, Battistero Neoniano) ikinciye (Battistero Ariano, Sant'Apollinare Nuovo, San Vitale), tüm ihtişam ve doğallıkla gösterilen doğa tasvirinden (akantus yaprakları, çiçekli şamdanlar, bitki ve çiçek bahçeleri, viridarium/yeşil bahçe gibi) adım adım uzaklaşılarak mavi gökyüzünden arka planı altından oluşturulmuş mozaiklere doğru anlamlı ve ilginç bir değişikliğe uğradığı görülebilmektedir. Çünkü altın tesseralar bu dönemde üstünlüğün ışığını göstermenin, Mesih'in ihtişamını ve kilisenin gücünü yansıtmanın en iyi yoludur ve Ravenna'daki anıtlar bunun en önemli kanıtıdır. Pek çok mozaik sunumunda, anti-Arianizm'in tartışmalı ruhu ve Aryan Teodorico'nun otuz yıl boyunca hüküm sürdüğü kentte Katolik Ortodoksluğunun açık bir ifadesi görülebilmektedir. Doğu'da V-VI. yüzyıllar arasına tarihlenen pek çok anıtın, antik dönemde ideolojik ve politik nedenlerden dolayı yıkılması nedeniyle Ravenna ideolojik ve stilistik değişikliklerin takip edilebileceği ayrıcalıklı bir yerdir.
