Can psychoanalytical hypotheses have a universal value? Can they describe the same – or a similar – psychic dynamic for any human, regardless of the historical, social and cultural context? Can psychoanalysis help with mental suffering in different realities? In our times, the questions psychoanalysis has to face are very complex. The modern world is dominated by technology that subverts the perception of the body, by new families and group organization, and by a global violence that enforces a changed geometry of the mind. The answers to these new situations differ from country to country, regardless of the uniformity brought about by globalization. Consequently, the role of psychoanalysis changes across different nations. Presenting their different experiences and problem areas, the authors of the essays contained herein have laid out a map which is different from the geographical and geopolitical ones that we all know.

Over the last two decades, discoveries made in the field of cognitive neuroscience have begun to permeate humanities and social sciences. This special issue of Cinéma & Cie focuses on major conceptual and epistemological arguments arising from the dialogue between audiovisual studies and neurosciences. In the context of this intersection, Neurofilmology is an interdisciplinary research program that arises at the encounter between two models of viewer: the viewer-as-mind (deriving from a cognitive/ analytical approach) and the viewer-as-body (typical of the phenomenological/continental approach). Accordingly, Neurofilmology focuses on the viewer-as-organism, by investigating with both empirical and speculative epistemological tools the subject of audiovisual experience, postulated as embodied, embedded, enacted, extended, emerging, affective, and relational.

The current European Union is too often presented as the perfect realisation of a Europe of the people and freedom. The present essay overturns the common way to understand this reality. A triumph of capitalism, which has now become absolute, the creation of the European Union has in fact proceeded to destabilise the hegemony of the political. It has paved the road to an irresistible cycle of privatisations and cuts to public spending, to forced precarisation of labour and to an ever-more sharp reduction of social rights, inflicting economic violence upon the subaltern and the most economically deprived. For this reason, the only way to re-imagine the future, to vindicate the people and work, and to continue the struggle that was Marx’s and Gramsci’s, is to move from a radical critique of finance and the Euro.

This volume maps the multilayered narratives created in cinema on and around Silvio Berlusconi as a means of exploring the age of Berlusconismo. The analysis crosses chronological and generic boundaries, stretching back to the comedy Italian style, which foreshadows the symbolic meanings incarnated by Berlusconi before he actually entered the public stage. The book delineates a comprehensive cinematic corpus and focuses on a selection of narrative and documentary films, from the proto-Berlusconi everyman of La più bella serata della mia vita (The Most Wonderful Evening of My Life, 1972) by Ettore Scola, to the Berlusconi pretext for political self-reflection of Arance e martello (Oranges and Hammer, 2014) by Diego Bianchi. The author argues that the Berlusconi in these films represents not only the historical persona, but also a pervasive semiotic category in which the recent history of thecountry is inscribed and Italian society mirrors itself.

The author offers a paradigm-shifting view of the structure of material and verbal communication, based on the mother-child experience and confirmed by recent research in infant psychology. This view justifies a relational epistemology that informs the material gift economy, as well as the structure of language itself. Provisioning economies give value to the receivers, and the circulation of gifts consolidates community. Understanding language as verbal gifting unites other orientations with reason to liberate us from biopathic, patriarchal conceptions of humanity. Sketched against this background, Vaughan introduces a conception of monetized exchange as a gift-denying and expropriating psychological mechanism, which is an unintended collective by-product of verbal communication.

This historico-technical journal was founded in 2001. Published yearly, in the course of the years the journal has entered the international stage with the name “Conservation Science in Cultural Heritage”, and it is now published in English and in Italian, both in electronic format and on print. It is featured on many websites and international databases, it has been granted the opportunity to apply the Creative Commons (CC) licence and the “seal” of SPARC (Scholarly Publishing and Academic Resource Coalition), and it has been officially requested by EBSCO Publishing and H. W. Wilson Company to be part of their platforms. Since 2011, it has been edited by Mimesis Edizioni (Milano-Udine). The Advisory Committee is made of experts of various competences and cultural backgrounds. The journal publishes experimental studies and research that are historical, technical, diagnostic-analytical, normative, managerial and economico-financial in nature, related to the problems of safeguarding and valorising cultural and environmental heritage within interdisciplinary and internationalist fields. Briefly put, the aims pursued are scientific, institutional and communicational, so that the quality of information can reflect the “truth” of science and the “clarity” of communication.

Mirio Cosottini dedicates his book "Playing with silence" to everyone who loves silence and its multiple facets. In this volume, he advances a series of questions and exercises through which to set off on a path of enquiry into silence, shedding light on its multiple appearances and, at the same time, on what remains constant despite various transformations. In the first part of this work, Cosottini proposes a series of questions that invite readers to confront themselves with a silence that frightens. This silence is to be found in our bodies, enters our experience, and hides itself in the world. It can be cultivated, desired and listened to. In the second part, readers are invited to "play" with silence, turning it into a performative exercise: silence, here, is conceived as a tool for action and the fulfilment of a direct experience of silence.

This book offers the reader a tool to address the largely still uncharted territory of contemporary migration literature. In addition to presenting and commenting on the production of the prolific writer Helen Barolini, author Margherita Ganeri nurtures her ambition to investigate one of the questions running through the debate on the relationship between literary writing and socio-cultural groups: namely, the possibility to define literature, in particular Italian American literature, on the basis of ethnicity. The book includes a preface by Melania G. Mazzucco and an exclusive excerpt of Helen Barolini's forthcoming book “Visits”.

This book is one of the most important works of modern anthropology. Starting from his studies of the Melanesian society on the Trobriand Islands off New Guinea, Malinowski describes and examines the ways in which Trobriand Islanders structure and maintain the social and economic order of their tribe. "The true problem”, Malinowski says, “is not to study how human life submits to rules; the real problem is how the rules become adapted to life. ” Crime and Custom in Savage Society is a necessary book to understand the articulate relationship between law and society.

The present book is a collection of 9 essays, emerging from a long and intense research collaboration among scholars coming from different backgrounds and traditions. As the book subtitle suggests, these essays focus on the ethical, religious, and political aspects of Wittgenstein’s thought, which are illustrated and investigated with reference to their complex interaction with Wittgenstein’s philosophical method and his conception of philosophy, on the one hand, and with his conception of language and human agency on the other.

Brought together here are most of the presentations made at the Merleau-Ponty seminars which were held at the Husserl Archives, Paris, in 1998-99 and 1999-2000. Some of the essays in English come from the Twenty-second Annual International Meeting of the Merleau-Ponty Circle which was held at Seattle University from the 18th to the 20th of September, 1997. And finally, there are a certain number of important Italian contributions, among which is the "Introduction" that Enzo Paci — one of the great figures in Italian phenomenology — wrote in 1958 for the translation of In Praise of Philosophy. This collection allows us to understand better the genesis of Merleau-Ponty’s ontology and, in particular, the importance of his reflections on Nature. Texts by: Renaud Barbaras, Étienne Bimbenet, Patrick Burke, Philippe Cabestan, Mauro Carbone, Pierre Cassou-Nogues, Jean-Noël Cueille, Francesco Colli, Françoise Dastur, Pascal Dupond, Fred Evans, Paolo Gambazzi, Nicoletta Grillo, Galen A. Johnson, Samuel J. Julian, Antje Kapust, Leonard Lawlor, Glen Mazis, Dorothea Olkowski, Guido D. Neri, Enzo Paci, Alessandro Prandoni, Franck Robert, Michael Sanders, Jenny Slatman, Ted Toadvine, Robert Vallier, Amedeo Vigorelli, Agata Zielinski.

The book arises to investigate the prospect of painting in the current context, choosing a philosophical approach careful to delineate mechanisms and capabilities in relation to the history of painting, to its actuality and difference, also in relation to other media, trying to catch those aspects related to its continuous questioning, as dialectic body in continuous evolution/repetition. This book is the first in Italy that serves non as an historical path, but as a survey of the contemporaneity of painting. Main figures of the international scene have joined this project: come Luc Tuymans, Thierry De Cordier, Neo Rauch, Jonathan Meese, Marc Desgrandchamps, Norbert Witzgall, and for Italy, in attition to the two book curators, Barbara Nahmad, Marco Pellizzola, Flavio de Marco.

The notion of "flesh", such as Merlau-Ponty elaborates it, is beginnig to occupy a central position in international philosophical debates. In recent years, some of the most famous contemporary thinkers have struggled with it. They were brought to the flesh by its intrinsic interest as well as by the contemporary reconception of our experience of the body and its relation to the world. The dense and original articles in which this volume consist attempt to return to the strictly philosophical coherence of the notion, as well to the tightly woven network of references to the flesh within Merlau-Ponty’s thought, where it retains the eminent place that we know it possesses. In addition, with this fourth volume, Chiasmi International expands its field of investigation by devoting a special section to the thought of the great Czech phenomenologist Jan Patocka. Essays by Mauro Carbone, Renaud Barbaras, Pierre Rodrigo, Étienne Bimbenet, Luigi Tarantino, Leonard Lawlor, Jean-Noël Cueille, Claudio di Bitonto, Kym Maclaren, Fabrice Colonna, Alessia Mascellani, Valentina Flak, David Belot, Antonio Martone, Guy Deniau, Bruce Bégout, Pierre Cassou-Noguès, Justin Tauber.

This issue of Cirpit Review, inaugurating a new “time” for the journal, features a collection of essays and contributions variously inspired by the thought of Raion Panikkar. Certainly, he is one of the protagonists of the “intercultural transformation” or turn that has affected philosophy and theology. Symbol, dialogue, Christianness and ecosophy are some of the key concepts informing his inclusive and relational thought, gravitating around pluralism as its core notion. His theoretical efforts aimed at abandoning the paradigm that posits an intimate correspondence between thought and being, that is, the very premise grounding the enterprise of Western philosophy.

This issue contains the proceedings of the Symposium on Dialogical Dialogue and Raimon Panikkar, held in Baltimore in November 2013. It consisted of two separate events, held in conjunction with the annual meeting of the American Academy of Religion (AAR). The first was the symposium, under the auspices of the Society for Asian and Comparative Philosophy, on the dialogical philosophy of Raimon Panikkar (22nd November). The other was the Roundtable Panel for the Comparative Studies in Religion Section of the AAR, presided by Gerald James Larson (UC Santa Barbara), on the legacy of Panikkar's comparative study of religion (24th November). This issue is dedicated to the enduring memory of Scott Thomas Eastham.

As Jacques Derrida stated in Archive Fever, nothing is less reliable or less clear thanthe word “archive.” Nevertheless, it is precisely within the semantic openendedness of this notion that contemporary discursive practices of cinema and art have developed, thus reconfiguring the very idea of the archive. The single disciplines involved in this broad field – film and art history, film and art theory, aesthetics, semiotics, philology, etc. – are now beginning to question the concept of archive even in its “negative” sense: in other words, they are now starting to investigate – following Michel Foucault – what the archive is not, or does not seem to be. The archive is not the “library of libraries” or the “encyclopaedia;” it is not “memory” or a “database.” In recent years, much attention has been focused on these ideas, revealing new “impulses,” “turns” and specific forms of art (“art archive”), as well as highlighting how the notion of archive has gained importance on different interrelated levels (aesthetic, political, ethical and legal) across diverse disciplinary fields.