The Journal for the Philosophy of Language, Mind and the Arts
     topic: filosofia, antropologia e religione  
  • e-ISSN 2723-9640
  • Periodicità semestrale
  • Permalink
  • Lingua fr, en, it, de
  • Anvur classe Area 10,Area 11

TheJournal for the Philosophy of Language, Mind and the Arts is an online, biannual, periodical journal, published by Edizioni Ca’ Foscari Digital Publishing.The Journal is the expression of an active research group based at the Department of Philosophy and Cultural Heritage of Ca’ Foscari University, in Venice (Italy). The same group of scholars previously founded a research centre called CLAVeS, which currently gathers the scientific activities (seminars, conferences, meetings, etc.) that its members hold in Venice. The research topics this Journal investigates stand between Philosophy of Language, Philosophy of Mind, Aesthetics, and Philosophy of Art. Hence, the Journal is intended to offer a chance to develop a thorough and interdisciplinary research (in terms of both interrelations and exchanges within the international scientific community. Furthermore, the Journal is set to provide the opportunity to discuss several theoretical issues, which lie at the core of contemporary philosophical and scientific debate. No particular school or theoretical orientation as well as attitude is excluded a priori. Indeed, contributors are asked to hold an open perspective without any dogmatism, as well as due rigour of argumentation and thematic choices, in order to abide by the richness and variety of theoretical approaches and visions. The Journal is recognised as a scientific journal for areas 10 (Ancient, philological-literary and historical-artistic sciences) and 11 (Historical, philosophical, pedagogical and psychological sciences) by the National Agency for the Evaluation of the University System and Research.

Informazioni generali

  • peopleComitati
    Direzione scientifica
    Luigi Perissinotto, Università Ca’ Foscari Venezia    

    Comitato scientifico
    Jocelyn Benoist, Université de Paris 1, Panthéon-Sorbonne    
    Annalisa Coliva, University of California, USA    
    Pascal Engel, EHESS, Paris    
    Shaun Gallagher, University of Memphis, USA; University of Wollongong, Australia    
    Garry L. Hagberg, Bard College, New York, USA    
    Wolfgang Huemer, Università degli Studi di Parma, Italia    
    Daniel Hutto, University of Wollongong, Australia    
    John Hyman, University College, London, UK    
    Oskari Kuusela, East Anglia University, UK    
    Michael Lüthy, Bauhaus-Universität, Weimar, Deutschland    
    Diego Marconi, Università degli Studi di Torino, Italia    
    Anna Marmodoro, University of Oxford, UK    
    Kevin Mulligan, Université de Genève, Suisse    
    Elisa Paganini, Università Statale di Milano, Italia    
    Claudio Paolucci, Alma Mater Studiorum, Università di Bologna, Italia    
    Léo Junior Peruzzo, PUCPR – Pontifícia Universidade Católica do Paraná, Brasil    
    Francesca Piazza, Università degli Studi di Palermo, Italia    
    Vicente Sanfélix Vidarte, Universitat de València, España    
    Pierre Steiner, Université de Technologie de Compiègne, France    
    Claudine Tiercelin, Collège de France, Paris, France    
    Nicla Vassallo, Università degli Studi di Genova, Italia    
    Jesús Vega Encabo, Universidad Autónoma de Madrid, España    

    Editorial Board
    Cristina Baldacci, Università Ca’ Foscari Venezia, Italia    
    Pietro Conte, Università Ca’ Foscari Venezia, Italia    
    Marco Dalla Gassa, Università Ca’ Foscari Venezia, Italia    
    Roberta Dreon, Università Ca’ Foscari Venezia, Italia    
    Matteo Favaretti Camposampiero, Università Ca’ Foscari Venezia, Italia    
    Susanne Franco, Università Ca’ Foscari Venezia, Italia    
    Mattia Geretto, Università Ca’ Foscari Venezia, Italia    
    Alessandra Jacomuzzi, Università Ca’ Foscari Venezia, Italia    
    Diego Mantoan, Università Ca’ Foscari Venezia, Italia    
    Eleonora Montuschi, Università Ca’ Foscari Venezia, Italia    
    Gian Luigi Paltrinieri, Università Ca’ Foscari Venezia, Italia    
    Luigi Perissinotto, Università Ca’ Foscari Venezia, Italia    
    Begoña Ramón Cámara, Universitat de València, España    
    Carlos Vára Sanchez, Università Ca’ Foscari Venezia, Italia    

    Editorial assistants
    Filippo Batisti, Università Ca’ Foscari Venezia, Italia    
    Alessandro Cavazzana, Università Ca’ Foscari Venezia, Italia    
    Marco Gigante, Università Ca’ Foscari Venezia, Italia    
    Alice Morelli, Università Ca’ Foscari Venezia, Italia    
    Francesco Ragazzi, Università Ca’ Foscari Venezia, Italia    
    Elena Valeri, Università Ca’ Foscari Venezia, Italia    

    Managing Editor
    Luigi Perissinotto, Università Ca’ Foscari Venezia, Italia    

Proposte / Contatti

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I costi di pubblicazioni sono regolamentati dall’Editore. Tutte le informazioni sono disponibili alla pagina Pubblicare con noi.

Peer review

Gli articoli pubblicati hanno ottenuto il parere favorevole da parte di almeno due valutatori esperti della materia, attraverso un processo di revisione anonima (double-blind peer review) condotta sotto la responsabilità della Direzione scientifica della rivista. I revisori non hanno contatti diretti con gli Autori e appartengono a istituzioni di ricerca diverse da quella cui la rivista è affiliata. La valutazione è svolta in conformità e aderenza ai criteri scientifici, e ai criteri editoriali di completezza bibliografica e coerenza formale di Edizioni Ca’ Foscari.
Politiche di revisione per le singole sezioni:

  • Volume/Fascicolo completo: peer review
  • Introduzioni, prefazioni: senza peer review
  • Monografie | Saggi | Articoli: peer review
  • Recensioni: no peer review
  • Editoriali: no peer review

Per una descrizione dettagliata del processo, si prega di consultare la pagina: Pubblicare con noi.
Norme redazionali
  • listNorme redazionali

    Il rispetto delle norme redazionali è condizione indispensabile per l’accettazione dei testi. L’editore (ECF) può decidere di sospendere — in ogni momento — la pubblicazione degli articoli in caso di loro mancato o scorretto impiego.

    Le norme comprendono, come loro parti integranti, le istruzioni per la composizione del file di testo, dell’abstract e dell’apparato bibliografico, scaricabili dal menu ’Pubblicare con noi’ alla voce ‘Norme redazionali’.

    • Preparazione di un documento
    • Struttura base di un documento
    • Composizione del testo
    • Sistema di riferimento bibliografico
    • Bibliografia generale

    Per informazioni e chiarimenti, si invita a contattare la redazione di Edizioni Ca’ Foscari all’indirizzo

  • call_to_actionCall for papers

    CALL FOR PAPERS (JOLMA 3 | 2 | 2022)

    Translation as Interpretation

    Editors: Francesco Camera and Gian Luigi Paltrinieri

    What does it mean to translate and in what sense is translating constitutively interpreting? This issue is aimed to address these and many other related questions.

    Clearly, translating cannot be reduced to moving a meaning from a remote linguistic vehicle to a more familiar one: “the purpose of translation by no means is that of bringing what has been said closer” (M. Heidegger, GA 51, p. 96), but, rather, that of allowing distance and strangeness to emerge within our target language. The relationship with distant or untimely texts is neither peaceful nor reassuring, and therefore (!) it opens up possibilities, it discloses different futures to the present. We can say, furthermore, that the first crucial consequence the work of the translator-interpreter produces is a disruption of the inertial absolutization of that present which is settled in our usual saying and, thus, appears to us immediately decipherable or as the only possible one.

    On the other hand, it was some grandiose translating interpretations that led to powerful historical effects, decisively marking the cultural, philosophical and theological path of Europe and of the Mediterranean basin. Just to mention a few of them: the translation of the Bible into Latin by St. Jerome or that of the Seventy into Greek, the translation into Latin of Aristotle’s logical works by Boethius, the German translations of the Bible by Luther or the Sophoclean Antigone by Hölderlin, the first English translations of Plato by Thomas Taylor and Benjamin Jowett. All these have been interpretations that, even when they have forced or misunderstood the original, they have in any case broadened and put back in motion the significance of the target language, whose linguisticity has opened up different, fruitful ways of experiencing the world.

    Another set of questions arises if we look at the everyday. Today all over the planet people speak the English language or translate their own into English. What happens to native English speakers if they get used to believing that they have no need to translate their mother tongue? And what does it mean for non-native English speakers if they get used to translating all their own thoughts and experiences? Of course, translating also has powerful ethical and political implications, as well as existential ones. And, by the way, it is a fact that we constantly need to translate and interpret within our own language: as Quine puts it, we must be aware that “radical translation begins at home” (W.V.O. Quine, Ontological Relativity, p. 46).

    With the purpose of addressing these and other problems raised by translation and interpretation, in this issue we would like to collect essays on the following topics:

    Invited Contributors:

    • Francesco Camera
    • Carla Canullo
    • Richard Capobianco
    • Massimiliano De Villa
    • Jean Grondin
    • Éliane Laverdure

    Submission deadline: May 31st, 2022

    Notification of acceptance: July 15th, 2022

    Articles must be written in English and should not exceed 6,500 words. The instructions for authors can be consulted in the journal’s website: ‘Editorial Guidelines’.

    Submissions must be suitable for blind review. Each submission should also include a brief abstract of no more than 650 words and five keywords for indexing purposes. Notification of intent to submit, including both a title and a brief summary of the content, will be greatly appreciated, as it will assist with the coordination and planning of the issue.

    For any question, please use the following address: Francesco Camera and Gian Luigi Paltrinieri

    Please submit your proposals to the email or using the section ‘Submit’ of the journal’s website.

    CALL FOR PAPERS (JOLMA 4 | 1 | 2023)

    Unframing/Reframing in the Contemporary Visual, Performing, and Media Arts

    Editors: Cristina Baldacci, Pietro Conte, Susanne Franco

    Over the last two decades the notion of the frame has been radically challenged in the visual, performing, and media arts. Two mutually related concepts have been emerging in particular: ‘unframing’ and ‘reframing’. While the first refers to the gesture of ideally getting rid of any framing device, the second offers alternative ways to contextualize objects, acts, and images in time and space.

    Yet, unframing and reframing should not be understood as opposite gestures but as a single, ongoing interpretative (visual) process which includes the gesture of ‘deframing’ (Ferrari, Pinotti 2018; Conte 2020). It also opens up new possibilities in artistic practice as much as in aesthetic theory, media, performance and cultural studies, and art history (Bal 2002). This process reactivates and continuously changes the relationship with the context in which an image, an object, an action, as well as an idea and a story are inserted, and also with time – a time that is no longer linear or hierarchical, but which leaves room for anachronisms and reenactments (Baldacci, Nicastro, Sforzini, 2022; Baldacci, Franco, 2022).

    Especially in the field of augmented, mixed, and virtual realities, the rapid pace of technological advancement has definitely undermined the traditional concept of the image as an artefact disclosing an ‘unreal’ dimension necessarily isolated from the real world of everyday life by virtue of some sort of framing devices (Pinotti 2017). De facto, in augmented reality (AR) and mixed reality our field of vision is superimposed with digital information so that the boundaries between flesh and blood reality and the image world are blurred. While, in virtual reality (VR) the experiencers find themselves surrounded by 360° visual content and immersed into a multisensorial dimension where the frame – according to some interpreters – would be gone and the two-dimensional limits dissolved (Iñárritu 2017).

    ‘Unframedness’ has been exploited as a form of propaganda to celebrate the ability of the most recent digital (un)realities to put ourselves in other people’s shoes, encouraging greater empathy between individuals and thus inducing pro-social behaviour change (Milk 2015). Debunking the rhetoric underlying this narrative of ‘total immersion’ is an urgent task. It has already prompted scholars to ask themselves whether the gesture of un-framing should be better understood as a new form of re-framing rather than a radical getting rid of all frames.

    This issue also invites reflections on current experimentations with theatre and performance that – as in AR and VR – push the concept of the frame of the theatrical device to the point of exploding it. How can the theatrical frame no longer be thought of as a medium between the fictional and the real world of the audience but as an increasingly porous membrane open to reinterpretations?

    Artistic practice helps respond to the question.

    Let’s take as a first example Seek Bromance by Samira Elagoz, which was awarded with the Silver Lion at the Venice Theatre Biennale in 2022. In a deserted and perturbing world, the two trans protagonists, Elagoz herself and the American-Brasilian artist Cade Moga, explore self-representation in media, together with the permeable boundaries between the real and the virtual, gender and the digital age, seduction and domination, by presenting real-life footage and photographic documentation of their sentimental/erotic relationship as ‘a real story’. Both the real-life footage and Elagoz’s live presence on stage cast light on the manipulation of bodies and genres through a performance narrative, multimedia happening, and docufiction that altogether challenge our notion of theatre as a frame.

    As a second recent example, this time chosen among the works presented at the last 2022 Venice Art Biennale, let’s refer to Oedipus in Search of Colonus by Loukia Alavanou. Inside the Greek Pavilion, thanks to VR technologies, visitors could experience a trip in time and space, which, in the footsteps of Sophocles, made them become protagonists of a contemporary tragedy: the desperate living conditions of Roma communities in Nea Zoi, west of Athens. As an immersive experience, the space-time boundaries of the work/installation decay and the viewers experience a social reality of poverty and despair that induces them to repeatedly reset the frame between past and present, far and near, illusion and reality.

    This issue critically investigates unframing and reframing from both a theoretical and practice-based perspective. Particularly welcomed are reflections outlining new historiographical approaches capable of retracing the many roots and interwoven paths of past works and experiences framed by historical narratives that are limited by the same theoretical horizons and methodological approaches which have constructed them as subjects of study.


    Bal, M. (2002). ‘Framing’. Travelling Concepts in the Humanities: A Rough Guide. Tornoto; Buffalo; London: University of Toronto Press, 133-73.

    Baldacci, C.; Nicastro, C.; Sforzini, A. (eds) (2022). Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory. Berlin: ICI Berlin Press.

    Baldacci, C., Franco, S. (eds) (2022). On Reenactment: Concepts, Methodologies, Tools. Turin: Accademia University Press.

    Conte, P. (2020). Unframing Aesthetics. Milan; London: Mimesis International.

    Ferrari, D.; Pinotti, A. (a cura di) (2018). La cornice. Storie, teorie, testi. Milano: Johan & Levi.

    Iñárritu, A.G. (2017). “Carne y Arena”. Press release, Fondazione Prada. Milan;

    Milk, C. (2015). Virtual Reality Is ‘the Last Medium’, “Re/Code”. October 1;

    Pinotti, A. (2017). “Self-Negating Images: Towards An-Iconology”. Proceedings, 2017, 1(9), 856.

    Submission deadline: 31 December 2022

    Notification of acceptance: 15 March 2023

    Articles must be written in English and should not exceed 6,500 words. The instructions for authors can be consulted in the journal’s website: ‘Editorial Guidelines’.

    Submissions must be suitable for blind review. Each submission should also include a brief abstract of no more than 650 words and five keywords for indexing purposes. Notification of intent to submit, including both a title and a brief summary of the content, will be greatly appreciated, as it will assist with the coordination and planning of the issue.

    For any question, please use the following address: Cristina Baldacci, Pietro Conte and Susanne Franco

    Go to the upload area

  • codeCodice etico della Rivista

    Ethical Code of The Journal for the Philosophy of Language, Mind and the Arts

    The Journal for the Philosophy of Language, Mind and the Arts is a peer-reviewed scientific journal whose policy is inspired by the COPE (Committee on Publication Ethics) Ethical Code. See the Best Practice Guidelines for Journal Editors.

    Publisher responsibilities  

    The Publisher must provide the Journal with adequate resources and the guidance of experts, in order to carry out its role in the most professional way, aiming at the highest quality standard.

    The Publisher must have a written agreement that defines the relationship with the owner of the Journal and/or the Editor-in-Chief. The agreement must comply with the Code of Behavior for Publishers of Scientific Journals, as established by COPE.

    The relationship among the Editor-in-Chief, the Editorial Board and the Publisher is based on the principle of publishing independence. 

    Editors responsibilities 

    The Editor-in-Chief and the Editorial Board of The Journal for the Philosophy of Language, Mind and the Arts alone are responsible for the decision to publish the articles submitted.

    Submitted articles, after having been checked for plagiarism by means of the anti-plagiarism software Compilatio that is used by the University and is made available to us, will be sent to at least two reviewers. Final acceptance presumes the implementation of possible amendments, as required by the reviewers and under the supervision of the The Journal for the Philosophy of Language, Mind and the Arts Editors.

    The The Journal for the Philosophy of Language, Mind and the Arts Editors and Editorial Board must evaluate each submitted paper in compliance with the Journalʼs policy, i.e. exclusively on the basis of its scientific content, without discrimination of race, sex, gender, creed, ethnic origin, citizenship, or the scientific, academic and political position of the Authors. 

    If the The Journal for the Philosophy of Language, Mind and the Arts Editors and Editorial Board notice (or receive notifications of) mistakes or inaccuracies, conflict of interest or plagiarism in a published article, they will immediately warn the Author and the Publisher and will undertake the necessary actions to resolve the issue. If necessary, they will withdraw the article or publish a recantation. 

    Authors responsibilities


    Authors must follow the Guidelines for Authors to be downloaded from the The Journal for the Philosophy of Language, Mind and the Arts website. 

    No multiple submissions 

    Authors must explicitly state that their work is original in all its parts and that the submitted paper has not been previously published, nor submitted to other journals, until the entire evaluation process is completed. Since no paper gets published without significant revision, earlier dissemination in conference proceedings or working papers does not preclude consideration for publication, but Authors are expected to fully disclose publication/dissemination of the material in other closely related publications, so that the overlap can be evaluated by the The Journal for the Philosophy of Language, Mind and the Arts Editors. 


    Authorship must be correctly attributed; all those who have given a substantial contribution to the design, organisation and accomplishment of the research the article is based on, must be indicated as Co-Authors. The respective roles of each co-author should be described in a footnote. The statement that all authors have approved the final version should be included in the disclosure.

    Conflicts of interest and financing 

    Authors, under their own responsibility, must avoid any conflict of interest affecting the results obtained or the interpretations suggested. The The Journal for the Philosophy of Language, Mind and the Arts Editors will give serious and careful consideration to suggestions of cases in which, due to possible conflict of interest, an Author’s work should not be reviewed by a specific scholar. Authors should indicate any financing agency or the project the article stems from. 


    Authors must see to it that all works consulted be properly quoted. If works or words of others are used, they have to be properly paraphrased or duly quoted. Citations between “double quotes” (or «angled quotation marks» if the text is written in a language other than English) must reproduce the exact wording of the source; under their own responsibility, Authors should carefully refrain from disguising a restyling of the source’s wording, as though it was the original formulation. 

    Ethical Committee

    Whenever required, the research protocols must be authorised in advance by the Ethical Committee of Ca’ Foscari University of Venice. 


    When Authors find a mistake or an inaccuracy in their own article, they must immediately warn the The Journal for the Philosophy of Language, Mind and the Arts Editors, providing all the information needed to make the due adjustments. 

    Reviewers responsibilities


    By means of the peer-review procedure, reviewers assist the The Journal for the Philosophy of Language, Mind and the Arts Editors and Editorial Board in taking decisions on the articles submitted. They are expected to offer the Authors suggestions as to possible adjustments aimed at improving their contribution submission. 

    Timing and conflicts of interest 

    If a reviewer does not feel up to the task of doing a given review, or if she/he is unable to read the work within the agreed schedule, she/he should notify the The Journal for the Philosophy of Language, Mind and the Arts Editors. Reviewers must not accept articles for which there is a conflict of interest due to previous contributions or to a competition with a disclosed author (or with an author they believe to have identified). 


    The content of the reviewed work must be considered confidential and must not be used without explicit authorisation by the author, who is to be contacted via the editor-in-chief. Any confidential information obtained during the peer review process should not be used for other purposes.

    Collaborative attitude

    Reviewers should see themselves not as adversaries but as advocates for the field. Any comment must be done in a collaborative way and from an objective point of view. Reviewers should clearly motivate their comments and keep in mind the Golden Rule of Reviewing: “Review for others as you would have others review for you”. 


    Reviewers should report any similarity or overlapping of the work under analysis with other works known to them.