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Philosophy Kitchen - Rivista di filosofia contemporanea, N. 10 (2019): Filosofia e fantascienza. Spazi, tempi e mondi altri

La questione della narrazione occupa nel discorso filosofico, fin dai suoi esordi, un posto di spicco: come ricorda nella sua ricostruzione delle origini del pensiero greco Jean-Pierre Vernant, la narrazione va intesa, per il pensiero filosofico dei primordi, innanzitutto come l’avversario per eccellenza: è il mito, infatti, ad essere propriamente narrativo; vale a dire la massima espressione di quel sistema di credenze e di immagini, di superstizioni e spiegazioni sovra-umane e sovra-razionali del mondo a cui si incominciava a contrapporre, per la prima vola in Occidente, la pretesa di razionalità che pensiero filosofico rivendicava per sé

PRELIMINARY NOTES In 1923, William M. Handy published a four-volumes-work for the journal American Society of Culture entitled The Science of Culture. It focused on good manners, dining etiquette, fashion, and the rules of polite conversation: nowadays, we would label it as a book on “social mores”. However, it was only with the establishment of the “Centre for Contemporary Cultural Studies” at the University of Birmingham in 1964 that the so-called “Cultural Studies” really took off in English-speaking countries. Within a few decades – especially from the beginning of the 20th century to the 1940s – scholars, either individually or as members of schools of thought, began to work – with different theoretical approaches and across different disciplines – on new methodologies and topics that go under the label of “cultural history”. Examples of this new scientific interest were the Annales school, which was founded in France in 1929 in the wake of the anthropological and sociological research developed by Gabriel Tarde, Marcel Mauss, and Emile Durkheim; the work of the Dutch historian of civilizations Johan Huizinga, who in the 1933 issue of the journal De Gids described Aby Warburg’s research as «a laboratory for cultural sciences»; and the investigations conducted by Max Weber and Georg Simmel in Germany. At the same time, eminent researchers in Italy – who are largely neglected nowadays, such as Paolo Mantegazza, Cesare Lombroso, and Camillo Sante De Sanctis – were attempting to combine social and natural sciences, psychology and historical-religious studies, medical science and biology, sociology and philosophy. Soon after the Second World War, thanks to the innovations introduced by structuralism in the social sciences, all these efforts to bridge different fields of research in the name of multiculturality and cross-disciplinarity gave rise, in Germany as well as in England, to the aforementioned field of “Cultural Studies” (later mostly developed in the US) and its German counterpart, the Kulturwissenschaft(en). In Italy and France, instead, the new topics and methodology were not included among the officially recognised- academic and scientific branches of knowledge.

En la present contribució es pretén reconstruir una genealogia dels discursos que fins ara han establert com a objectiu l'anàlisi i el desenvolupament teòric del concepte posthumà. Es donarà particular consideració a tres paradigmes que l'autor ha caracteritzat: el desenvolupament del discurs pòstum a partir de la seva primera formulació teòrica; el discurs narratiu de la ciència ficció, el de la crítica feminista a la subjectivitat entesa com un bloc "falogocèntric" (Derrida) i el de la crítica anti-antropocèntrica duta a terme per estudis en animals. En l'última part de la contribució, es presentarà una tesi original sobre una declinació pòstuma específica que està en diàleg amb el recent debat sobre el tema antropocénico., Particular consideration will be given to three paradigms that have characterized this discourse since its very first formulation: the narratives of the science fiction, the feminist criticism to the "phallogocentric" (Derrida) subjectivity and the critical position against the anthropocentrism brought ahead by the animal studies. In the last part of the contribution, will be presented an original thesis on a specific posthumous decline that is in dialogue with the recent debate on the “Anthropocene” concept., En la presente contribución se pretende reconstruir una genealogía de los discursos que hasta ahora han establecido como objetivo el análisis y el desarrollo teórico del concepto posthumano. Se dará particular consideración a tres paradigmas que el autor ha caracterizado, a saber: el desarrollo del discurso póstumo a partir de su primera formulación teórica, el discurso narrativo de la ciencia ficción, el de la crítica feminista a la subjetividad entendida como un bloque "falogocéntrico" (Derrida) y el de la crítica anti-antropocéntrica llevada a cabo por estudios en animales. En la última parte de la contribución, se presentará una tesis original sobre una declinación póstuma específica que está en diálogo con el reciente debate sobre el tema antropocénico.