The statue of Glauco that the sea and the storms have disfigured so as to make its appearance more like a ferocious beast than a god, is the famous image with which Jean Jacques Rousseau, in the Discourse on the origin of inequality, questions himself on Human Nature, in a reflection that will have its purpose both in the political project of the Contract and in the pedagogical project of the Emilio. The image serves in fact to reiterate that that deterioration, that ugliness, is only external and that the statue (the man) has remained in its depths beautiful and good, since in him the feeling of piety, of his own and of his remains unchanged. dignity and the vocation to freedom of others. If this were not the case, there would be no possibility for political democracy and democratic education. The growing social inequalities, the artificialization of feelings and relationships due to technology, as well as the spread, after the pandemic, of a sort of mass "claustrophilia", a love for the closed, for one's own, with the consequent rejection of everything that comes from "outside", which is different, foreign or new, seems instead to give credit to Hobbes's thesis, namely that Human Nature is violent and aggressive and that man is always a wolf for the other man. However, it will be the task of the arts, sciences and, above all, of education, to demonstrate that, under the debris left by the salt, Glauco has remained good and that he can rediscover his true essence, the beauty of his original substance.
Socialisme ou Barbarie: From Castoriadis’ Project of Individual and Collective Autonomy to the Collaborative Commons