In this paper, Pareyson provides an analysis of the existential features of the philosophies of Jaspers and Heidegger, that he considers as the two greatest philosophers of the second half of the twentieth century. In Jaspers, Pareyson identifies the idea that truth is both singular and one, meaning that it can be grasped only through a personal interpretation and never in absolute terms. This implies that truth and person are inseparably tied to each other and that existence carries transcendence in itself: just as truth transcends our personal knowledge of it, Being itself transcends our personal existence. Moreover, Pareyson sees Heidegger as the initiator of an existential ontology that poses a fundamental relation between the human being and Being itself; hence, the philosophical discourse on human existence inevitably turns into a discourse on Being. Therefore, Heidegger finally manages to overcome traditional metaphysics and its forgetfulness of the question of Being itself, by giving such question a central role within philosophical reflection. In conclusion, Pareyson maintains that Jaspers and Heidegger are able to make the voice of Being been heard, in contrast with the humanist and nihilist tendencies of twentieth century philosophy.

Alain Badiou embarks on a close reading of Hegel’s Aesthetics to consider how his own recently-developed concept of the “index”—designating the crucial point of mediation between finite works and the absolute (or the means by which “works of art obtain their seal of absoluteness”)—might figure therein, as well as to explore what Hegel would have made of cinema, had he lived to experience it. After first examining the various ways that this “index of absoluteness” functions in the Hegelian conception of art—both according to its canonical forms (sculpture, architecture, painting, music, and poetry including theatre) and its historical classifications (classical, symbolic and romantic)—Badiou proceeds to investigate whether Hegel’s aesthetic system could and should have foreseen the eventual birth of cinema, together with its general characteristics; and whether this new development would ultimately refute or confirm his famous thesis on the end of art.