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'*8)$,/ % =(&'( * =(&'%?/&,* '/00% ,/(-*% '* X*00*/,,/F c*=/-/&'(0% %00% @-(@-*% )(&)/5*(&/ '/00H:%&I&i/ (&,*)%>. )A/ '(?*&% / )(8,*,$*8)/ 90* 8,/88* *&*5* '/0 @/&8*/-(. 6&)%-'(&% 8B(09/ 0% ,/8* '* $&% :*00*?*,%,/55% '/0 0*?*,/ %88(0$,(>. *& )$* 8* -%'*)% 0% :i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m. )(00*'(&( 0/ -%9*(&* '* $&% =*0(8(=*% «,(,%0/>. )A/ )(90*/ 0H$(?( &/00% 8$% )(?@0/88*,I /8*8,/&5*%0/. )(& 0/ -%9*(&* '* $&% =*0(8(=*% :-/%0/>. )A/ B/'/ &/00H$(?( 8(@-%,,$,,( $& /88/-/ @/&8%&,/F o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m 8,/88( '/0 8%@/-/F X-%'(,,( *& ,/-?*&* '* @$-% 0(9*)%. *0 '*8)(-8( '* 4$&5*( 8* @$m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b-*?/ =-% ,$,,/ 0H*)6D'&/*' 0H*)6D'&/*' / 0H:%&%&i/>. *&'*8@/&8%C*0* *&8/-,* 8@/)$0%,*B* )A/ )(&)(--(&( %00% )(8,*,$5*(&/ '/0 )(&)/,,(F #$/8,H$0,*?( @$m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ijsosqev sosqevneia neia tw`n lovgwn gwn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«allocuzione» a commento dell’Incontro di Lecce (5/6 novembre 1991), per











contributo di notevole interesse, sia per la chiara esposizione del suo concetto di filosofia, sia per il ricco corredo di inserimenti critici che propone alla riflessione del lettore (39). Nel 1995 il «Giornale» ospita una replica re plica di Xavier Tilliette (40) all’articolo di Nunzio del 1991 che «recensiva» la dottrina cristologica del filosofo francese (41). Alle tardive ma concise e ben argomentate risposte dell’ospite e amico, Incardona oppone un saggio, che, al di sopra e al di là delle qualità dialettiche della sua scrittura, rivela il profilo inconfondibile del suo pensiero, le ragioni ultime e definitive del suo credo filosofico, nonché un visibilissimo segno della persistente presenza del patrimonio ideale ereditato ere ditato da Michele Federico Sciacca (42). Aggiungerò che in molti passaggi c’è un presentimento, direi quasi una precognizione, del panorama culturale del nostro tempo, dei problemi d’oggi, delle inattese e spesso sbalorditive aperture d’orizzonte che connotano la nostra vita spirituale. Il teorema centrale, intorno al quale ruotano i corollari evidenziati dall’analisi di Tilliette, è ripreso da Incardona (43) con rigore esemplare: un rinnovato corredo di coerenti argomentazioni riconferma il chorismòs tra l’ajlhv lhvqeia qeia '/0 @-*&)*@*( / 0% =*0(8(=*%

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l’essere nella sua essenza ontologica è negazione del tempo, e il tempo nel suo divenire storico è negazione dell’essere. Il 1997 ci offre un lavoro di Incardona (47), che per il lindore della scrittura e la raffinatezza del corredo documentario è da iscrivere tra le sue cose migliori. Il talento letterario di Nunzio e le risorse del suo acume speculativo guidano il lettore per sentieri di fascinosa classicità, che dal mito conducono al logos. Il messaggio di Incardona è tratto, per allegoria e per metamorfosi di concetti, dall’ Inno Inno a Ermes Ermes (48) e dal Simposio platonico (49): i versi dell’inno omerico e le pagine del dialogo disegnano intorno ai miti di Ermes e di Eros una trama di pensieri che alludono e convengono alle mobili ambiguità del logos, fino a prefigurarne e a rilevarne le più intime strutture. Il nostro filosofo, dopo aver enunciato le ragioni speculative della sua ricerca, le colloca all’interno del tessuto mitico, che le comprende e le riflette con speculare evidenza. Ciò che spinge Nunzio a

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kai; dh; dh; to; to; me; me; n mh; o] o]n oujk e[ stin. stin. eij ga; ga;r to; mh; mh; o] o]n e[ stin, stin, e[stai stai te a{ma ma kai; ouj ouj k e[stai: stai: h|i me;n ga;r oujk o]n noei`tai, tai, oujk e[ stai, stai, h|i de; e[ e[ sti sti mh; o[ o[ n, n, pavlin lin e[stai. stai. pantelw`~ de; a[ a[ topon topon to; ei\ ei\ naiv naiv ti ti a{ma ma kai; mh; mh; ei\ ei\ nai: nai: oujk a[ ra ra e[sti sti to; mh; o[n. n. kai; a[llw~, llw~, eij to; mh; o]n e[sti, sti, to; o]n oujk e[stai: stai: ejnantiv nantiva gavr ejsti sti tau`ta ta ajllhv llhvloi~, loi~, kai; eij twì mh; o[nti nti sumbevbhke bhke to; ei\nai, nai, twì o[nti nti sumbhvsetai setai to; mh; ei\nai. nai. oujci; ci; dev ge ge to; o]n oujk e[stin: stin: ptoivnun nunq oujde; de; to; mh; o]n e[stai. stai. (66)

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da Incardona. Da una parte bisogna valutare il significato «soprasegmentale» della differenza, ossia porla in un’ottica (Standpunkt) superiore che ne consenta l’eventuale lettura metafisica, dall’altra occorre recuperare i termini in opposizione nella loro autonoma e separata sfera semantica. Il nucleo speculativo portato alla luce «dagli inferi del principio» è da Nunzio studiosamente analizzato con un ampiamento sinottico, che accresce gli elementi comparativi tratti da Aristotele xi~ / tevknh knh *& -%@@(-,( %0 lovgo~ go~ ajlhqhv lhqhv~E / *&,-('$)/ %0)$&* ?(,*B* *)(&(9-%=*)* / '(,,-*&%0* (e{xi~

'/'(,,* '%00HY&,*)( / '%0 4$(B( X/8,%?/&,( DZ3EF 6& +$/8,H%-,*)(0(. 6&)%-'(&% -*@-/&'/ / -*)(&8*'/-% @*M B(0,/ *0 8$( '*8)(-8( )-*,*)(. )(?/ 8/ %&'%88/ %00% -*)/-)% '/00/ &%8)(8,/ ,-%?/ '* $& @%0*&8/8,(F #$/8,% :-*'(&'%&5%> 7 0% 8@*% 8(,,*0/ '/0 8$( C*8(9&( '* $& :%@@('/-%?/&,(> )(&)/,,$%0/. @/- 0% )$* (@/-% ,-%/ '%0 B%8,( (-*55(&,/ '/00/ 8$/ 0/,,$-/ $&% )(-&*)/ '* '(,,/ / -%-/ :)*,%5*(&*> DZQEF 4/0 6j 0*C-( '/00% F$#8HH0*6&. F$#8HH0*6&. b0%,(&/ /&$&)*% @/- C())% '* K()-%,/ 0% 8/9$/&,/ =(-?$0%5*(&/ '/0 @-*&)*@*( '* &(& )(&,-%''*5*(&/ DUQW C 2 ` ) "E\ Dh`lon lon o{ti ti taujto; to;n tajnantiv nantiva poiei`n h] pavscein scein kata; taujtov tovn ge kai; pro;~ taujto; to;n oujk ejqelhv qelhvsei sei a{ma, ma, w{ste ste a[n pou eujriv rivskwmen skwmen ejn aujtoi` toi`~ tau`ta ta gignovmena, mena, eijsov sovmeqa meqa o{ti ti ouj tauj taujto; to;n h\n ajlla; lla; pleiv pleivw. w. K$00/ 8*&9(0/ B()* '* +$/8,( 0$(9( @%-%'*9?%,*)(. 6&)%-'(&% 8* /-% *& @-/)/'/&,* 8,$'* -*@/,$,%?/&,/ 8(==/-?%,(F o-%. *& $& 8%99*( '/0 3SSS DZUE. /90* &/ -*@(-,% &/0 ,*,(0( $& 8/9?/&,( )A/ )(?@/&'*% *0 8/&8( '/00% =-%8/F T* 8* %8@/,,/-/CC/ +$*&'* $&% -*@-/8% '/00% +$/8,*(&/ 9*I ,-%,,%,%. $& '*8)(-8( %&)(- @*M %--*))A*,( / %@@-(=(&'*,( 8$00% :,-%8)/&'/&,%0*,I> '/* )(&,-%-*F #$* @/-m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taujto; to;n tajnantiv nantiva 8(&( 8/?@-/ Y-*8,(,/0/ / g/9/0 DZ2E. )A*%?%,* % ,/8,*?(&*%-/ 8$00H:*&,/00/,,$%0*8?( '/00H/88/-/ / '/0 &$00%>F 4$&5*( %&%0*55%. )(& ())A*( %,,/&,( %00/ B%0/&5/ 0*&9$*8,*)A/. * 8*&9(0* B()%C(0* $8%,* '% Y-*8,(,/0/ / &/ /?/-9/ 0% 8*&9(0%-/ )(&8,%,%5*(&/ '/00% '/C(0/55% '/00/ 26%*//8%$ 5*0'2'5*6D$ 5*0'2'5*6D$ -*8@/,,( %00/ 8$99/8,*(&* 8/?%&,*)A/ /8@-/88/ '%* ,/8,* 0/,,/-%-*F G% )-*,*)% %00/ *&8$==*)*/&5/ '/00% 0*&9$% =*0(8(=*)%. )A/ )(0@*8)/ %&)A/ 0% 0(9*)% '* g/9/0. A% 0( 8)(@/-,( / *??/'*%,( (C*/,,*B( '* 8%0B%9$%-'%-/. %&5* '* 8%0B%-/.











G% 0$&9% «@/-(-%5*(&/: '* 6&)%-'(&%. / +$* 8* %&&*'% 0% '*==*)(0,I '* +$/8,( 8)-*,,(. &(& 8* )A*$'/ )(& $&% -*@-/8% '/0 '*%0(9( 8$* )(&,-%-*. ?% )(& 0% )*,%5*(&/ '* Y&%88*?%&'-( / '* b%-?/&*'/. '* c*0i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«Giornale di Metafisica» (82). Ricordate le benemerenze di Masi come studioso dello «spiritualismo antico», Nunzio identifica l’originalità delle sue «scoperte» nell’esatto rilievo del significato metafisico (o comunque di forte avvio verso il pensiero metafisico) dei contenuti culturali maturati in clima spiritualistico. Lo studioso ha descritto con sagacia gli statuti delle credenze religiose e il loro passaggio da uno stadio «naturalistico» e «rituale» a una fase «teistica» e «dommatica». Nella religione dell’antico Egitto, ad esempio, si possono individuare le fonti spirituali che dettero origine a taluni dogmi della religione cristiana. L’«ulteriorità» di Masi è dunque un’esigenza dell’intelletto che ci sospinge per vie diverse e con diversi modi alla «concettualità» della metafisica. Gli aspetti «drammatici» del pensiero filosofico sono visti da Incardona sotto un duplice profilo: il primo, che potremmo definire «storiografico», riguarda le «sacre rappresentazioni» della nascente speculazione, qui rappresentate dalle articolazioni della dottrina di Parmenide nei due discorsi della Verità e della Doxa; il secondo, che potremmo definire «strutturale», ci dischiude i problemi interni all’organizzazione delle idee, alla all a loro costituzione gerarchica gera rchica e categoriale. ca tegoriale. Nella Nel la filosofia di Parmenide, le «dramatis personae» incombono sul fondale anipotetico del mito, ma la «radicalità del dinamismo speculativo» le sospinge inesorabilmente alla periferia del pensabile, mentre la Verità domina la scena indossando una doppia maschera. Da una parte, come fa notare Nunzio, rappresenta la forza autonoma del pensiero c he si rivela come essere, ess ere, dall’altra è il risultato di una rivelazione, della rivelazione della Demone, che autocraticamente si riconquista un suo spazio vitale. Ma la tragica teatralità dell’irrompente monologo dell’essere lascia dietro le quinte i fantasmi della Doxa, li relega sullo sfondo, e, pur asserendo la loro «metafisica» inesistenza, ammette che possano (e debbano!) essere oggetto del pensiero. Cosa si nasconde, dunque, dietro il teorema di Parmenide? Incardona lo sa, ma non ce lo vuole dire direttamente. Risponde per lui Nietzsche, il Nietzsche dell’«apollineo» e del «dionisiaco», e commenta dissipandone Nunzio: «A questo modo acuminato e febbrile le origini della tragedia mimano la tragedia dell’origine, dissipandone un divertito, profetico baccanale; e non sussiste potenza di culto impudicamente cenobita che riesca ad architettare il corrompimento della grandiosa scolastica cattedrale delle filosofie la cui immanente metafisica consiste nell’esercizio











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DQUE g/&-* J-_'_-*) Y?*/0 D"23"R "22"E ` J*0(8(=( 8B*55/-( )A/ A% '*==$8( *0 8$( @/&8*/-( %&)A/ %,,-%B/-8( 0% 8%99*8,*)% / 0% @(/8*%F k 8(@-%,,$,,( -*)(-'%,( @/- * a%&:($)/2 <-8) g'8%)&0 *)/*($+ )A/ *)/*($+ )A/ 6&)%-'(&% 0/99/ &/00H/'*5*(&/ % )$-% '* [/-&%-' [($B*/-. b%-*8 "1Q" ` 788:E KD'%*2(L2b*)5%& P$/$%(*)&;*')$`S$:&;*')$ 6 D"113y"11QE ` n666 T(&B/9&( DZR2R1 ?%99*( "113E\ 6&,/--(9%5*(&/ / '/8,*&(F ;0* *&=/-* '/0 @-*&)*@*( ` 6&)(&,-* '/0 :;*(-&%0/ '* . <%)/-%,% D1y"S '*)/?C-/ "113E\
infra Determinazione/Negazione II (1993/1994) – Convegno di studi patrocinato dal Centro internazionale di cultura filosofica Giovanni Gentile di Castelvetrano (Palermo/Castelvetrano, 2-34-5-6 dicembre 1993): Idealismo tedesco e neoidealismo italiano – Incontri del «Giornale di Metafisica», Verona (8/9 novembre 1993): Metafisica e trascendentalità.

(37) Breviarium principii principii – prosènanchos prosènanchos archèten archèten , GdM XVI (1994, n. 3), pp. 293-297. Incardona nagco~/ aj ajrch` rch`qen qen. $& 0$(9( ,(@*)( '/00% si rifà ancora al concetto racchiuso nella diade prosevnagco~/

@-(*/5*(&/ *& )$* /90* 8*,$% (9&* @-*&)*@*(. '*%0/,,*55%&'(0( *& $& ?(B*?/&,( '* @/&8*/-(. )A/ %&,/)/'/&'( *0 ,/?@(. 8)%,$-*8)/ ejxaiv xaivfnh~. fnh~. #$/8,( *&%,,/8( / *?@-(BB*8( )(?@%-*-/. 7 %BB/-,*,( '% 4$&5*( )(?/ $& :,-%80%,( wvx -*&8/--%,( *& $&% B*&)(0%,/55% %(-9*)% &/00% +$%0/ $& )(?*&)*%-/ @$- )A/ 8*% %'/9$% 8/ 8,/88( %0 )(?*&)*%-/ +$%0)(8%> D@F 31UEF













@/- 6&)%-'(&% 0H/+$*B()( )A/ 8* 9/&/-% %00/ =(&,* '/0 @/&8%-/ 7 :$& @-(C0/?% )A/ -*?%&/ @-(=(&'%?/&,/. -%'*)%0?/&,/ %@/-,(> D*H*< D*H*< /?E /?E ` 788CE KD'%*2(L2b*)5%& P$/$%(*)&;*')$`S$:&;*')$ 666 D"11Uy"11VEF ` T(&B/9&( '* 8,$'* @%,-()*&%,( '%0 T/&,-( *&,/-&%5*(&%0/ '* )$0,$-% =*0(8(=*)% ;*(B%&&* ;/&,*0/ '* T%8,/0B/,-%&( DT%8,/0B/,-%&( 3SR3"R33 (,,(C-/ "11UE \ 6'/%0*8?( '/00% =*0(8(=*% /' /8@/-*/&5% 8,(-*)%F (40) Réponses à Nunzio Incardona Incardona et à quelques quelques apories, GdM 1995, n. 1-2, pp. 225-228. Tilliette, con preciso e cortese riepilogo della materia del contendere, riassume in sette punti i capisaldi della critica incardoniana: 1) filosofia e teologia devono occupare ambiti separati; 2) la filosofia cristiana è un «equivoco storico e concettuale»; 3) tra il concreto evento dell’Incarnazione e la «teologalità» che lo interpreta in chiave filosofica si annida un’insanabile contraddizione: l’ Idea Christi di Tilliette rappresenterebbe un secondo e nuovo Logos di fronte a quello della Rivelazione; 4) la filosofia cristiana si vede costretta a rifiutare la centralità del Cristo come Logos-Principe per non prestare il fianco alle obiezioni dei laici; 5) il tentativo – messo in campo da Tilliette – di innestare nel discorso filosofico le valenze critiche ed esegetiche della cristologia si riduce a una petizione di principio che aggrava le aporie; 6) Tilliette gioca abilmente su due scacchieri separati: nel primo manovra la teologia per mutarla in filosofia, nel secondo si serve della filosofia per fornire un sostegno e un alibi alla teologia; 7) la logica della secolarizzazione del Cristo storico conduce ad esiti di rifiuto o di confidante attesa: Tilliette, mosso da intenti apologetici, ha proposto un «Cristo











(46) ll primo (Metafisica e teoreticità del pensare) ebbe luogo a Macerata, il secondo (Metafisica e trascendentabilità) a Verona. – 1996: – Del – Del principio Incoatività/Ermetismo II (1996-1997) –

T(&B/9&( '* T%8,/0B/,-%&( D3WR31 %@-*0/ "11WE \ N%00% @Af8*8 '* L?@/'()0/ %0 0(9(8 '* ;(-9*%F b/-)(-8( =*0(8(=*)( %&,*)( / @-(8@/,,*B/ )(&,/?@(-%&//F (47) I (47) I sandali di Ermes e lo spazio di De Kooning Kooning – Appunti per una una possibile negazione dell’epelysìa di metaphysikà, GdM 1997, pp. 101-150. (48) Cfr. Inni Cfr. Inni omerici, a omerici, a cura di F. Càssola, Milano 1975, Inno IV, pp. 153-225. Ermes è l’emblema go~ aijmuv muvlio~, lio~, '%0 +$%0/ 8)%,$-*8)/ 0H%5*(&/. ?('$0%,% )(?/ $&% :-%@@-/8/&,%5*(&/>F 60 del lovgo~

'*(. %,,(-/ / @-(,%9(&*8,%. -/)*,% *0 8$( :'-%??%> '(&%&'(8* % $& 8%@*/&,/ *&,-/))*( '* %,,* / '* @%-(0/F 6 8$(* -%9*(&%?/&,* 8(&( 90* %-)A/,*@* '/00/ %-9(?/&,%5*(&* )A/ '*=/&'(&( 90* %8@/,,* )(&,-%''*,,(-* '/00% 8@/)$0%5*(&/ =*0(8(=*)%F (49) Citato da Platone, Convito, ed. Convito, ed. I. Burnet, Oxonii 1967, 202d 13-14; 203b 1-d8; 206b 7 (tr. di C. Viano). Eros, figlio di Poros e Penia, è «sempre dietro a macchinare qualche insidia, desideroso di capire, scaltro, inteso a speculare tutta la vita, imbroglione terribile, maliardo e sofista» (tr. di G. Giardini). Questi caratteri della divinità entrano nella tipologia del discorso filosofico fornendogli gli elementi di una «liturgia» che mantiene il logos nella sua primitiva ambiguità.











DVWE K@*% %)$,*88*?% '/00/ %8@/-*,I '/0 '/,,%,( '* 6&)%-'(&% 7 *0 ,/88$,( ,/-?*&(0(9*)( '/0 ,/8,(. &/0 +$%0/ )(&B*B(&( *& (-*9*&%0/ / *& ,-%8)-*5*(&/ $& %0,*88*?( &$?/-( '* ,/-?*&* @0%,(&*)* / A/9/0*%&* *&,-('(,,* '*-/,,%?/&,/ &/00% '*8)$88*(&/ )(?/ /0/?/&,* &(-?%0* '/0 0/88*)( *,%0*%&(F 4(& 8* ,-%,,% +$* '* $& /8@/'*/&,/ 8,*0*8,*)(\ 4$&5*( -%9*(&%. *& -/%0,I. %B/&'( *& ?/&,/ / 8$00/ 0%CC-% *0 9-/)( '* b0%,(&/ / *0 ,/'/8)( '* g/9/0F DVZE 4/00% -*)(9&*5*(&/ '/00/ =(&,* )(?@%*(&( )(& +$%0)A/ *&8*8,/&5% -*&B** % @*M %&,*)A* ,/8,*?(&* '/00% '(,,-*&% @0%,(&*)% DT-%,*0( w@F U3Zx. J*0(0%( wUQ" 8FxE. ( @-/8/&,*?/&,* / )(&8(&%&5/ '/0 ,/8,( A/9/0*%&( DK)A€&C/-9 w@F U31x. P9$))*(&/ '% b*8% wP$%*V&/*')$2+ w P$%*V&/*')$2+ )*,%,/ )*,%,/ % @F UQVE. N%&,/ wC&%&<*2'+ wC&%&<*2'+ n6j. BBF QURQV. V3RVZ. 1UR1W. )*,%5*(&* % @F UQU 8Fx. c*0i/ wV @%88* '% B%-*/ (@/-/ w@@F U33. UQ2 8F. UUW 8EF DV2E G/ ,/8,*?(&*%&5/ 8(&( ,-%,,/ '% F$#8HH0*6&+ VQZ ) Z D #&22*( D #&22*(E. E. '% _$$/$/'. _$$/$/'. "VS ) U. ZR2E D@F U"ZE. '% Protagora, Protagora, 322 a 3 (p. 428). La N*22$)26D&5/ <$% ,':*M (cfr. supra (cfr. supra nota nota 54), nonostante l’iniziale riferimento alla traduzione Moni-Cesa, è letta e interpretata nel testo originale. Il lessico tedesco è fittamente intrecciato al greco dei dialoghi, a tal punto da destare l’impressione di una «lingua franca» o di un idioma fortemente gergalizzato. (59) La dimensione dell’imponente analisi condotta da Incardona sul lessico dei due filosofi è











(62) Si può dare solo qualche esempio delle innumerevoli innovazioni lessicali e stilistiche introdotte da Nunzio. La gran parte sono costituite da «coestensioni» morfologiche di sostantivi, aggettivi, verbi e avverbi (che potrebbero essere passati in qualche caso nella lingua contemporanea) (assuntivismo, (assuntivismo, assuntivistico, aplatonicamente, identitarietà, scientificazione, panicamente, pseudico, ermetizzante, insaputamente, disintrinsecante, trascendentalizzato, imperscrutatore, innominatezza, coniugatezza, preoroginario, panarcaico, cooriginario, radicatezza, coniugatezza, genitività, materizzare, conclamatezza, ecc. Una sezione particolare è rappresentata da voci greche e latine (cfr. le note 3 e 59) introdotte, soprattutto in trascrizione, come elementi normali del vocabolario italiano). Altrettanto cospicuo è il numero degli a[pax pax

*&)%-'(&*%&*. &/ )*,( +$%0)$&(\ 6*$6'V$::$)/$+ 6*$6'V$::$);&+ /&8/'6%')*2('+ /&8/'6%')*2/*6'+ )''('%5*6'+ /%&)26'%#'%$*/G+ 6''%*:*)&%*'+ /&8/'6%')*2/'%*&EF /&8/'6%')*2/'%*& EF T* 8(&( @(* ,/-?*&* -*)%B%,* '% =(&,* 0/,,/-%-*/ D8(@-%,,$,,( @(/,*)A/E )A/ 4$&5*( A% *&8/-*,( &/0 8$( 0*&9$%99*( =*0(8(=*)( )(& @-/)*8/ *&,/&5*(&* 8/?%&,*)A/\ B/'* +$*. %' /8/?@*(. 0/ a%hD:$%H8%/$) '* c*0i/ / 0H &'%:*6' D@/-%0,-( ?(0,( '*==$8( &/90* 8)-*,,* '* 6&)%-'(&%E. ,-%,,( '% g€-'/-0*&F – 1998: Inchoatio actus Il chiasmo difettivo: Utrum, Widerspruch, ajeiv eiv. (WQE K)(?@%-8( *0 QS ?%99*( "111 % 8(0* QZ %&&*F ;*I %==/-?%,( @*,,(-/. %B/B% )(&8/9$*,( *& ?(8,-/ / %BB/&*?/&,* )$0,$-%0* &(,(-*/,I / )(&8/&8*F Y,,*B( =*& '%90* %&&* 2S. 8* /-% *?@(8,(











=*%&)( '/00Hajpov povdeixi~ deixi~ ejx ejnantiv nantiva~ a~ 0Heujaggelikh; aggelikh; aj ajpov povdeixi~ deixi~ '* L$8/C*(F #$/8,% @-(8@/,,*B% 7 B%90*%,% %,,-%B/-8( *0 =*0,-( '/00% 0(9*)% A/9/0*%&% DK)A/*&. '/00/ J-„A9/C$-,/& i0/*8,*%&/ @/- &(& )%'/-/ &/0 :'*B/&*-/ 8/&5% /88/-/ '/90* *&'*)*C*0*>F G/ %0,-/ %-,*)(0%5*(&* '/00% 0(9*)% '/00H*'/&,*=*)%5*(&/ / '/00% &/9%5*(&/ )(&'$)(&( %00% 8@/)$0%-*,I '/00H%,,( '* @/&8*/-( / %* )-*,/-* '* B/-*=*)%C*0*,I '/0 B/-( D?*,( @0%,(&*)( '/00( sphvlaion laionEF DW2E G% 0(9*)% '/00% '*8,*&5*(&/ @/- $& B/-8( -*)(&(8)/ 0% )(?@(&/&,/ ,/?@(-%0/ '/0 @-()/88( *'/%,*B(. / @/- $& %0,-( @-(*/,,% *& $&( 8)A/?% :)A*%8,*)(> 0/ %0,/-&%,*B/ )A/ 8* '/'$)(&( '%00% '(,,-*&% 9(-9*%&%F ;$%-'%&'(. *&=%,,*. %00H(@@(8*5*(&/ ,-% :/88/-/> / :&(&R/88/-/>. ?/&,-/ *0 @/&8*/-( '/00H/88/-/ / 0H/88/-/ '/0 @/&8*/-( %@@%*(&( '/0 ,$,,( @-/'*)%C*0* / 8* @$m %??/,,/-/ ` )(&,-( *0 ,/(-/?% '* b%-?/&*'/ ` $& @/&8*/-( '/0 &(&R/88/-/. *0 &(&R/88/-/ '/0 @/&8*/-( 9/&/-% $&% 8,/-*0/ =(-?$0% 0*&9$*8,*)%. )A/. %@@/&% @/&8%,% / '/,,%. 8?/&,*8)/ 8/ 8,/88% / %==/-?% *0 8$( )(&,-%-*(F G% ,/(-*% '* ;(-9*%. %&%0*55%,% &/* ,/-?*&* '* $&% 8*&,%88* 0(9*)% -*9(-(8%. ?(8,-% %@@$&,( )(?/ / '(B/ *0 @/&8*/-( :9*()%> )(& 8/ 8,/88(. 9/&/-%&'( ?(8,-* / *&8%&%C*0* )(&,-%''*5*(&*F DW1E T=-F 9)&0T/3 T=-F 9)&0T/3 #'2/3 "SS C "VR"2] 4$/3 12" 4$/3 12" C 3ZR31. 123 % "RQ] 1/D3 S*63 ""Q1 S*63 ""Q1 C Q". ""US % 3SR 3"F ` :G% 9/&/%0(9*% '/90* %00$)*&%,* ,(@*)* '/0 @-*?(-'*> 7 -*)(8,-$*,% '% Y-*8,(,/0/ ?/'*%&,/













DZZE T=-F ;F G/(@%-'*. C&%&0*#'($)* <$00& Q&/%&6'(*'(&6D*&+ % Q&/%&6'(*'(&6D*&+ % )$-% '* LF [(0'-*&*. G(/8)A/-. X(-*&( "1ZS. @@F "W1 8F 6 B/-8* 8(&( ,-%,,* '%0 T%&,( j666 DUV. UWEF DZ2E 6& @%-,*)(0%-/\ 4$/3 "SSV C "1R3S / N*22$)26D&5/ <$% ,':*M+ /'F ,':*M+ /'F )*,F. B(0F 6F. @F WZF 4/0 -$(0( '* ,/8,*?(&* % 0%,/-/ )(?@%*(&( %&)A/\ [$55%,* D@F USWE. *0 K'%#82 J$%($/*68( D@F USZE. #$*&,*0*%&( D@F U""E. 4*/,58)A/ D@F U"WE. c*0i/ D@F U"Z. G%$,-_%?(&, D@F U3QE. [(-9/8 D@F U3ZEF DZ1E 4$&5*( %,,*&9/ 8(@-%,,$,,( '%00% F$#8HH0*6&+ ?% )*,% %&)A/ '%0 _*($' / _*($' / '%0 _$$/$/' D@F _$$/$/' D@F USVEF ` :<<

Incardona e Il GdM

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