In the introductory part of his study, Il metodo di Leopardi(Quasi un’introduzione), pp. 9–26, Biancu sides with the defenders of Leopardi’s philosophical profile against claims that Leopardi fails to build a coherent and fully meaningful ontological edifice. The first part of this work (Sentire, pp. 29–118) is devoted to the exploration of Leopardi’s key ideas: the loss of passion which accompanied the passage from ancient to modern times; the growth of egoism at the expense of a heroic sense of life; the process of spiritualization which, by shifting emotions from the outside to the inside, anaesthetizes passions and orientates feelings towards self-preservation; the inevitability of human suffering and the vanity of life; the contradiction between inborn self-love (amor proprio), man’s desire for infinite happiness and the impossibility of fulfilment; and the resulting sense of the limit and of noia, i.e. the perception of the sterility, emptiness, and futility of human things. In Part 2 of his study (Esistere, pp. 125–213) Biancu examines the significance of poetry for Leopardi, and explores its relations with Leopardi’s thought. The way to poetry is guided by emotions such as enthusiasm, rapture, and sympathy, which can claim the same origin — sensitivity — as the feelings of pain and vanity, which are the necessity of life for the philosopher. Poetry, the domain of possibility, thus unites with philosophy, the domain of necessity: the known and the unknown merge. Through the mediation of human feelings, poetry brings man close to the secrets of nature, the ultimate domain of knowledge, the only realm of truth, what Leopardi calls ultrafilosofia (pp. 112–18). In this part of his work Biancu also examines the key question of how to reconcile Leopardi’s incipient materialism with his view that nature is ultimately irreducible to pure matter. The critic examines the multiple facets which the idea of nature takes in Leopardi, and when these emerge (pp. 147–61); he further compares them with both ancient (Aquinas) and modern thinkers (Spinoza, Leibniz) in order to highlight the singularity of Leopardi’s views (pp. 168–88).

Leopardi non lamenta l impossibilità teorica di affermare un infinito oltre il finito. In questione è per lui piuttosto il non darsi di un infinito terreno che sia ad un tempo visibile udibile gustabile tastabile annusabile. È la vanità delle cose, la loro strutturale incapacità ad appagarci pienamente, ciò che il vero misura: essenzialmente cognizione di limiti e confini non può mancare di annunciare: una radicale ingratitudine, un ostinata obiezione a riconoscere che queste cose non sono affatto nulla, pur nella loro irrimediabile fragilità. Non si tratta ai suoi occhi né di negare il limite né di assolutizzarlo, ma piuttosto di leggerlo in rapporto continuo coll infinito e coll uomo : di lasciare che sia il desiderio a cogliere l oltre che ogni limite, proprio in quanto limite, annuncia. Un illusione: ciò che è più vero del vero. L icona più tipicamente leopardiana di tale operazione è certamente la siepe de L Infinito, allorché, concludendo le possibilità dello sguardo, apre orizzonti interminati e sovrumani .

Biancu, S., La poesia e le cose. Su Leopardi, Mimesis, Milano 2006:<<ITINERARI FILOSOFICI>>, 243 [http://hdl.handle.net/10807/11397]

La poesia e le cose. Su Leopardi

Biancu, Stefano
2006

Abstract

In the introductory part of his study, Il metodo di Leopardi(Quasi un’introduzione), pp. 9–26, Biancu sides with the defenders of Leopardi’s philosophical profile against claims that Leopardi fails to build a coherent and fully meaningful ontological edifice. The first part of this work (Sentire, pp. 29–118) is devoted to the exploration of Leopardi’s key ideas: the loss of passion which accompanied the passage from ancient to modern times; the growth of egoism at the expense of a heroic sense of life; the process of spiritualization which, by shifting emotions from the outside to the inside, anaesthetizes passions and orientates feelings towards self-preservation; the inevitability of human suffering and the vanity of life; the contradiction between inborn self-love (amor proprio), man’s desire for infinite happiness and the impossibility of fulfilment; and the resulting sense of the limit and of noia, i.e. the perception of the sterility, emptiness, and futility of human things. In Part 2 of his study (Esistere, pp. 125–213) Biancu examines the significance of poetry for Leopardi, and explores its relations with Leopardi’s thought. The way to poetry is guided by emotions such as enthusiasm, rapture, and sympathy, which can claim the same origin — sensitivity — as the feelings of pain and vanity, which are the necessity of life for the philosopher. Poetry, the domain of possibility, thus unites with philosophy, the domain of necessity: the known and the unknown merge. Through the mediation of human feelings, poetry brings man close to the secrets of nature, the ultimate domain of knowledge, the only realm of truth, what Leopardi calls ultrafilosofia (pp. 112–18). In this part of his work Biancu also examines the key question of how to reconcile Leopardi’s incipient materialism with his view that nature is ultimately irreducible to pure matter. The critic examines the multiple facets which the idea of nature takes in Leopardi, and when these emerge (pp. 147–61); he further compares them with both ancient (Aquinas) and modern thinkers (Spinoza, Leibniz) in order to highlight the singularity of Leopardi’s views (pp. 168–88).
2006
Italiano
Monografia o trattato scientifico
Pubblicazione interamente finanziata dal CNR nell'ambito del bando Promozione ricerca 2005 ("L'identità culturale come fattore di integrazione")
Biancu, S., La poesia e le cose. Su Leopardi, Mimesis, Milano 2006:<<ITINERARI FILOSOFICI>>, 243 [http://hdl.handle.net/10807/11397]
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10807/11397
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