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This paper focuses on the rule of metaphor in Paul Ricoeur's philosophy of language. In his Multi-Disciplinary Studies in the Creation of Meaning in Language (1975), the French philosopher shows the fundamental power of human language in constructing the world we perceive. He reveals the processes by which linguistic imagination creates and recreates meaning through metaphor. He develops a "linguistic philosophy of freedom," and a hermeneutics of the subject based on human capabilities. According to Ricoeur, to exist is to act: speaking, doing, telling, and assuming responsibility for the act committed. The very "being" of human beings is to act and the effort to be. In this perspective, the human interiority is considered as dynamic production (enérgeia, conatus): it is a complex ontology of homo capax based on the human freedom and possibilities of language. Being as act and potentiality is the dominant metacategory that governs Ricoeur's philosophical anthropology, widely developed in the work Oneself as Another (1990). [ABSTRACT FROM AUTHOR]

In the present paper, I shall argue about the relationship among creativity, empathy, and recognition. To this aim, I will provide with an analysis of two contemporary work of art as case studies: the interactive portrait This Is Not Private by Alberto Daniele (2016) and the project Material Speculation: ISIS (2015-2016) by Morehshin Allahyari (2016). Through a phenomenological framework, my contention is to show how the engagement between the artist and the user is crucial to develop the meaning of the work of art itself, determining a creative process in which they both are involved. [ABSTRACT FROM AUTHOR]

The paper argues a network of interconnected hypotheses about creativity on the basis of available evidence. This evidence is largely derived from cognitive sciences, in particular from some of the most relevant lines of research concerning creativity. The main issues concern the forms of creativity, the processes involved in creativity, the stimulation of creativity, and recognition and evaluation of creativity. [ABSTRACT FROM AUTHOR]

The article explores Vico's reflection on symbolic creativity and the connection between this meditation and Italian contemporary democratic process, especially in the school system and in the linguistic pedagogical principles introduced by Tullio De Mauro and the Giscel (Italian Teachers Association for a democratic linguistic pedagogy). The paper relies on previous research on the Scienza nuova's conception of plurisemiotism and its specific historical evolution triggered by the political struggles between the upper class - originally the patres - and the dominated class, the "famoli" (Brook, Fortuna 2018). I argue that Vico's thought on these issues deeply influenced the Italian 1968's social movements and made possible the introduction of three fundamental laws for Italian democratization (Codignola, 1969; Falcucci, 1977; Basaglia, 1978). [ABSTRACT FROM AUTHOR]

The paper focuses on the invention of a Proto-Latin language for the film Il primo Re by M. Rovere (2019). The language was created with the explicit aim of producing a barbaric and primitivistic effect on the hearer. The method used to invent it is summed up in the formula: back in time, but still in place. We started from Classical Latin and "antiquated" it exploiting the data from historical Latin and Indo-European linguistics, but we avoided mixing Latin with different languages. The result is a particular type of language ex inventione: the single chunks that compose it are all plausible reconstructions from the scientific point of view, but they are not attested and have never co-existed as such. Language science and the human instinct for creativity (verbigeratio ludica) are therefore the two sources from which the language of the film was created. [ABSTRACT FROM AUTHOR]

This paper aims to describe the uses of over-compound tenses in the dialects of Sardinia. As we knew (Pittau 1972, p. 112 and 156-157 and Jones 1993, p. 308) over-compound tenses are used especially in counterfactual clauses. My data (Pisano, 2010; 2016; 2018) showed that these structures can be also used in the generic expression of unreality in optative clauses. Even if previous descriptions were based on data from the Nuorese area dialects, my fieldworks (Pisano, 2010; 2016) have shown that over-compound tenses are also present in some dialects of the north of Logudoro. A paradigm of an over-compound past tense is attested also in the south of Sardinia (Pisano, 2016). In this group of varieties, however, this structure displays only an experiential value. As a matter of fact, the insertion of the extra past participle is not possible in the expression of punctual action. [ABSTRACT FROM AUTHOR]

In the domain of Indo-European linguistics, Tocharian is now playing a more important role, which has been favoured by the increasing availability of the texts. The present article examines the concept of "creativity" in historical linguistics, by analysing palaeographic and linguistic matters related to hapax legomena, emendations, and conjectural readings in Tocharian manuscripts. The goals of this short paper are twofold: (1) on the one hand, it aims to provide a new reading of the line b4 in the Tocharian B fragment B530 and comment on the new discovered word TB nekīta '±destroyer'; (2) on the other hand, it is finalised at analysing the apparent irregularities of the paradigm of TB pīto 'price, cost'. [ABSTRACT FROM AUTHOR]

In this paper I will examine some aspects of the Indo-European theory as an example of scientific creativity. Particularly, I will focus on the first generations of scholars (Jones, Schlegel, Bopp, Grimm, Pott, and Schleicher), also referring to the ideological and cultural effects of the reception (and exploitation) of the discipline. The aim is to point out the fact that, since the first developments of the Indo-European studies, two different conceptions of the reconstructive method and its heuristic capacities are created. I will try to detect the danger, from the point of view of the solidity of the outcomes, but also from that of ideological exploitation, of the reification of the Proto-Indo-European language, and I will propose the abandonment of the persistent idea of original perfection: the myth of the origin is misleading and must therefore be reversed. [ABSTRACT FROM AUTHOR]

This paper intends to dwell on the power of creative transformation that makes use of the principle according to which the expectation of the observer always influences the matter (substance), that is the external reality of things. The intention is to demonstrate, starting from the concept of labor - to then come to that of opus - as the three guiding criteria of an artwork, which are: harmony, or the coherence between the parts of a whole; the intensity, understood as the depth and expression of the soul; and continuity as a sign that remains and that indicates the future content, are elements not at all obvious, above all when one looks at an artwork not in terms of integrity but of "judging" surface. The following reflection arose from these three questions: How can a work of art be the fruit of a perfect creation? How do you go from a laborious job to a creative work? Where does the power of creative transformation lie? The answers were many, perhaps too many, but on the last one I received only this answer: With a shift (of thought) from the struggle to the solution and with a shift (of vision) on the value of the artwork itself. [ABSTRACT FROM AUTHOR]

This paper treats of the story of Pygmalion's love for his statue from Ovid's version, one of the best-known myths of the classical antiquity. In Metamorphoses X, 243-297, Ovid makes a brilliant reflection about the artistic and literary creativity. Pygmalion, a devotee sculptor of Venus, despises the women and he falls in love with the statue that he made, representing an idealized female image. He is the artifex par excellence: the sculptor, refusing the reality, prefers to realize one analogous and shapes the ivory with admirable and extraordinary art that can reach the aesthetical perfection. The Pygmalion's art overcomes the reality about beauty and changes, in such way, the very idea of ancient art: the myth becomes allegory of the ability of the art sublimation and, to the meantime, with subtle self-referential implication inside Ovidian verse, of the literary poetic creativity. [ABSTRACT FROM AUTHOR]