Table of Contents

Preface

Part I
Migrations of Concepts

De-powering of the Cartesian Cogito and ‘Disbelonging’ of the I
In the Margin of De antiquissima of Giambattista Vico

Conceit and Collapse of the I. Beckett and Geulincx

The Ontopoietic Eye. Beckett and Berkeley

Percipi
For Soprano, Clarinet in B flat, Viola, Cello, Percussions, Piano
Brief Self-analysis
Musical Score (composed by Rosalba Quindici)

Voices from a Life
A Performance of Passages from the Life of Giambattista Vico Written by Himself (1723–28).
Contribution to theTheoretical Justification of an audio-video
Conception and Design of the audio-video
On the performance of a philosophical text
Orality. Vocality. Event
audio-video. Technique. Repetition

Part II
From Oratory to Word Music

The Heroism of the Scholar. Reading in Concert Form
on Giambattista Vico’s Oration De mente heroica (1732)
for Solo Readers and Chorus of Readers

An Encomium in Two Speakers
Theatre-Reading on the Encomium of Helen by Gorgias of Leontini

Part III
From Philosophy to Melologues

Offshoots of Hegel. From the Autobiography of a Servant
Melologue in Two Scenes and Ten Stanzas
for Reciting Voice and Prepared Piano (Libretto)

Offshoots of Hegel. From the Autobiography of a Servant
For Prepared Piano
Brief Self-analysis
Musical Score (composed by Rosalba Quindici)

The Veiled Thought. A Nocturnal Meditation by the Prince of Sansevero
Melologue in Four Scenes for Reciting Voice, Recorded Voices and Percussions
(Libretto)

The Veiled Thought. A Nocturnal Meditation by the Prince of Sansevero
For Percussions
Brief Self-analysis
Musical Score (composed by Rosalba Quindici)

Conclusions
More on dissemination and transposition

Migrations of Concepts brings together the results of an experimental research on the migration of philosophical concepts into the languages of the arts. The monograph explores the intersection of philosophy, literature and art, and presents a theoretical-performative investigation on the transposition of philosophical contents into theatrical and musical performance. Starting with Giambattista Vico and Samuel Beckett, a first part elaborates the paradigm of the “Disbelonging” of the I – which is the condition of the I who realizes that it is both its own and foreign at the same time –; shows how this is transposed into the language of sounds, and reflects on the significance of public performance of a philosophical work. The second and third parts further explore the transposition of philosophical thought into art by presenting the theatrical performances written and directed by the author. More specifically, the book contains the text of two theatre readings on Vico and Gorgia, and the libretto of two melologues dedicated to Hegel and the Prince of Sansevero, with the corresponding scores of music composed by Rosalba Quindici. By exploring the boundaries of adaptation studies, this monograph radically proposes a new and innovative way to study and communicate philosophical concepts.