Search results for ""Author Giorgio Agamben""

Kore, also called Persephone and referred to poetically by the Greeks as the unspeakable girl, was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. This title presents three richly detailed treatments of the myth of Kore.

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Filósofo, sacerdote católico y pensador radical de la cultura, a Iván Illich se lo conoce sobre todo por escritos polémicos como La sociedad desescolarizada, La convivencialidad o Némesis médica, en los que elabora una crítica de las instituciones contemporáneas en los ámbitos de la educación escolar, la medicina profesional, las relaciones laborales o el desarrollo socioeconómico. Este libro reúne textos pertenecientes a la primera etapa de su trayectoria biográfica e intelectual, rescatándolos de un olvido inmerecido.Los ensayos que componen La Iglesia sin poder son testimonio de la labor pastoral de Illich, que afronta problemas eminentemente prácticos a la luz de unos pocos conceptos genuinamente teológicos: la oración, la pobreza de espíritu y el Reino. Como señala Giorgio Agamben en su prólogo, estamos ante un pensamiento del Reino, de la especial presencia de este entre nosotros, ya cumplida y, sin embargo, todavía no.En el núcleo de la obra de Illich está la oposición a

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1939, Europa es azotada por siniestros vientos de guerra. Mientras las divisiones acorazadas alemanas recorren las llanuras polacas y se preparan para la invasión de Francia, Carlo Levi, desde la playa de La Baule, donde decide refugiarse huyendo del régimen de Mussolini, trata de fijar su mirada de intelectual antifascista sobre una crisis ya próxima al apocalipsis. Lo que ve es la aterradora, fulgurante imagen de una civilización abogada a la autodestrucción, engullida por las tinieblas de sus propias contradicciones irreconciliables y nefastas.Con un estilo lírico, en ocasiones oracular, y una extraordinaria lucidez crítica, Levi analiza la religión (que transforma lo sagrado en sacrificio), el Estado (ídolo social por excelencia, del que la política occidental no logra liberarse), la guerra, la sangre, la masa, el amor y el arte como universales humanos de los que manaron esas contradicciones de la Europa prebélica, que todavía siguen en gran parte irresueltas.Miedo a la li

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Oaths play an essential part in the political and religious history of the West as a 'sacrament of power'. Yet despite numerous studies by linguists, anthropologists and historians of law and of religion, there exists no complete analysis of the oath which seeks to explain the strategic function that this phenomenon has performed at the intersection of law, religion and politics. The oath seems to define man himself as a political animal, but what is an oath and from where does it originate? Taking this question as its point of departure, Giorgio Agamben's book develops a pathbreaking 'archaeology' of the oath. Via a firsthand survey of Greek and Roman sources which shed light on the nexus of the oath with archaic legislation, acts of condemnation and the names of gods and blasphemy, Agamben recasts the birth of the oath as a decisive event of anthropogenesis, the process by which mankind became humanity. If the oath has historically constituted itself as a 'sacrament of power', it has functioned at one and the same time as a 'sacrament of language' - a sacrament in which man, discovering that he can speak, chooses to bind himself to his language and to use it to put life and destiny at stake.

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What is a rule, if it appears to become confused with life? And what is a human life, if, in every one of its gestures, of its words, and of its silences, it cannot be distinguished from the rule? It is to these questions that Agamben's new book turns by means of an impassioned reading of the fascinating and massive phenomenon of Western monasticism from Pachomius to St. Francis. The book reconstructs in detail the life of the monks with their obsessive attention to temporal articulation and to the Rule, to ascetic techniques and to liturgy. But Agamben's thesis is that the true novelty of monasticism lies not in the confusion between life and norm, but in the discovery of a new dimension, in which "life" as such, perhaps for the first time, is affirmed in its autonomy, and in which the claim of the "highest poverty" and "use" challenges the law in ways that we must still grapple with today. How can we think a form-of-life, that is, a human life released from the grip of law, and a use of bodies and of the world that never becomes an appropriation? How can we think life as something not subject to ownership but only for common use?

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Oaths play an essential part in the political and religious history of the West as a 'sacrament of power'. Yet despite numerous studies by linguists, anthropologists and historians of law and of religion, there exists no complete analysis of the oath which seeks to explain the strategic function that this phenomenon has performed at the intersection of law, religion and politics. The oath seems to define man himself as a political animal, but what is an oath and from where does it originate? Taking this question as its point of departure, Giorgio Agamben's book develops a pathbreaking 'archaeology' of the oath. Via a firsthand survey of Greek and Roman sources which shed light on the nexus of the oath with archaic legislation, acts of condemnation and the names of gods and blasphemy, Agamben recasts the birth of the oath as a decisive event of anthropogenesis, the process by which mankind became humanity. If the oath has historically constituted itself as a 'sacrament of power', it has functioned at one and the same time as a 'sacrament of language' - a sacrament in which man, discovering that he can speak, chooses to bind himself to his language and to use it to put life and destiny at stake.

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Giorgio Agamben's Homo Sacer is one of the seminal works of political philosophy in recent decades. A twenty-year undertaking, this project is a series of interconnected investigations of staggering ambition and scope investigating the deepest foundations of every major Western institution and discourse. This single book brings together for the first time all nine volumes that make up this groundbreaking project. Each volume takes a seemingly obscure and outdated issue as its starting point—an enigmatic figure in Roman law, or medieval debates about God's management of creation, or theories about the origin of the oath—but is always guided by questions with urgent contemporary relevance. The Omnibus Homo Sacer includes: 1.Homo Sacer: Sovereign Power and Bare Life 2.1.State of Exception 2.2.Stasis: Civil War as a Political Paradigm 2.3.The Sacrament of Language: An Archeology of the Oath 2.4.The Kingdom and the Glory: For a Theological Genealogy of Economy and Glory 2.5.Opus Dei: An Archeology of Duty 3.Remnants of Auschwitz: The Witness and the Archive 4.1.The Highest Poverty: Monastic Rules and Form-of-Life 4.2.The Use of Bodies

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Los Cantos de Ezra Pound es el poema épico más importante del siglo XX y por primera vez aparecen traducidos de forma íntegra en nuestra lengua.Los Cantos de Ezra Pound es el poema épico más importante del siglo xx y, sin duda, una de las cúspides de la lengua inglesa. Un poema a la manera de Homero, es decir, una suma de literaturas y de tradiciones, un compendio de historias, de leyendas, de mitos, de canciones y de lenguas. Si tuviésemos que imaginar un poema total en el que todos los rasgos del ser humano estuviesen presentes, desde su más profunda miseria hasta su más alta belleza, sin duda sería éste. Si todo el conocimiento humano se perdiera, lo volveríamos a encontrar en los Cantos. Pound tardó más de cincuenta años en escribirlos. Quiso que fueran la Divina Comedia de nuestro tiempo. En su vastedad, en su sabiduría y en su belleza, lo logró.

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Qué está en juego en la literatura? Cuál es el fuego que el relato ha perdido y que busca recobrar a toda costa? Y qué es la piedra filosofal que los escritores, con el empecinamiento de los alquimistas, se esfuerzan en producir en el horno de las palabras? Qué resiste, en todo acto de creación, a la creación misma, y de esa forma confiere a la obra su fuerza y su gracia? Agamben recoge en diez ensayos los motivos más urgentes y actuales de su investigación. Y, como siempre en sus escritos, la obcecada interrogación sobre el misterio de la literatura, misterio inquirido hasta en sus aspectos más materiales (la transformación de la lectura en el pasaje del libro a la pantalla), se entrelaza con una meditación sobre el otro misterio de la modernidad, ético y político, esta vez.

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What is a rule, if it appears to become confused with life? And what is a human life, if, in every one of its gestures, of its words, and of its silences, it cannot be distinguished from the rule? It is to these questions that Agamben's new book turns by means of an impassioned reading of the fascinating and massive phenomenon of Western monasticism from Pachomius to St. Francis. The book reconstructs in detail the life of the monks with their obsessive attention to temporal articulation and to the Rule, to ascetic techniques and to liturgy. But Agamben's thesis is that the true novelty of monasticism lies not in the confusion between life and norm, but in the discovery of a new dimension, in which "life" as such, perhaps for the first time, is affirmed in its autonomy, and in which the claim of the "highest poverty" and "use" challenges the law in ways that we must still grapple with today. How can we think a form-of-life, that is, a human life released from the grip of law, and a use of bodies and of the world that never becomes an appropriation? How can we think life as something not subject to ownership but only for common use?

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Unquestionably an influential thinker in Italy today, Giorgio Agamben has contributed to some of the most vital philosophical debates of our time. "The Coming Community" is an indispensable addition to the body of his work. How can we conceive a human community that lays no claim to identity - being American, being Muslim, being communist? How can a community be formed of singularities that refuse any criteria of belonging? Agamben draws on an eclectic and exciting set of sources to explore the status of human subjectivities outside of general identity. From St Thomas' analysis of halos to a stocking commercial shown in French cinemas, and from the Talmud's warning about entering paradise to the power of the multitude in Tiananmen Square, Agamben tracks down the singular subjectivity that is coming in the contemporary world and shaping the world to come. Agamben develops the concept of community and the social implications of his philosophical thought. "The Coming Community" offers both a philosophical mediation and the beginnings of a new foundation for ethics, one grounded beyond subjectivity, ideology, and the concepts of good and evil. Agamben's exploration is, in part, a contemporary and creative response to the work of Heidegger, Wittgenstein, Blanchot, Jean-Luc Nancy, and, more historically, Plato, Spinoza, and medieval scholars and theorists of Judeo-Christian scriptures. This volume is the first in a new series that encourages transdisciplinary exploration and destabilizes traditional boundaries between disciplines, nations, genders, races, humans, and machines. Giorgio Agamben currently teaches philosophy at the College International de Philosophie in Paris and at the University of Macerata (Italy). He is the author of "Language and Death" (Minnesota, 1991) and "Stanzas" (Minnesota, 1992). This book is intended for those in the fields of cultural theory, literary theory, philosophy.

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A richly illustrated analysis from one of Europe’s greatest living philosophers. In Pinocchio, Giorgio Agamben turns his keen philosopher’s eye to the famous nineteenth-century novel by Carlo Collodi. To Agamben, Pinocchio’s adventures are a kind of initiation into life itself. Like us, the mischievous puppet is caught between two worlds. He is faced with the alternatives of submitting to authority or of carrying on, stubbornly indulging his way of being. From Agamben’s virtuoso interpretation of this classic story, we learn that we can harbor the mystery of existence only if we are not aware of it, only if we manage to cohabit with an area of non-knowledge, immemorial and very near. Richly illustrated with images from three early editions of Collodi’s novel, this new volume will delight enthusiasts of both literature and philosophy.

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Creation and the giving of orders are closely entwined in Western culture, where God commands the world into existence and later issues the injunctions known as the Ten Commandments. The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart. The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

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In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms—between artist and spectator, genius and taste, and form and matter, for example—that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Dürer's Melancholia in the terms that the book has articulated as its own. The Man Without Content will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience—those involved with art, art history, the history of aesthetics, and popular culture.

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Eighty years ago, Ettore Majorana, a brilliant student of Enrico Fermi, disappeared under mysterious circumstances while going by ship from Palermo to Naples. How is it possible that the most talented physicist of his generation vanished without leaving a trace? It has long been speculated that Majorana decided to abandon physics, disappearing because he had precociously realized that nuclear fission would inevitably lead to the atomic bomb. This book advances a different hypothesis. Through a careful analysis of Majorana's article "The Value of Statistical Laws in Physics and Social Sciences," which shows how in quantum physics reality is dissolved into probability, and in dialogue with Simone Weil's considerations on the topic, Giorgio Agamben suggests that, by disappearing into thin air, Majorana turned his very person into an exemplary cipher of the status of the real in our probabilistic universe. In so doing, the physicist posed a question to science that is still awaiting an answer: What is Real?

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What does it mean to be responsible for our actions? In this brief and elegant study, Giorgio Agamben traces our most profound moral intuitions back to their roots in the sphere of law and punishment. Moral accountability, human free agency, and even the very concept of cause and effect all find their origin in the language of the trial, which Western philosophy and theology both transform into the paradigm for all of human life. In his search for a way out of this destructive paradigm, Agamben not only draws on minority opinions within the Western tradition but engages at length with Buddhist texts and concepts for the first time. In sum, Karman deepens and rearticulates some of Agamben's core insights while breaking significant new ground.

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In 1900, Dutch art historians Andre Jolles and Aby Warburg constructed an experimental dialogue in which Jolles supposed he had fallen in love with the figure of a young woman in a painting: "A fantastic figure - shall I call her a servant girl, or rather a classical nymph? What is the meaning of it all - Who is the nymph? Where does she come from?" Warburg's response: "In essence she is an elemental spirit, a pagan goddess in exile," serves as the touchstone for this wide-ranging and theoretical exploration of female representation in iconography. In "Nymphs", the newest translation of Italian philosopher Giorgio Agamben's work, the author notes that academic research has lingered on the "pagan goddess," while the concept of "elemental spirit," ignored by scholars, is vital to the history of iconography. Tracing the genealogy of this idea, Agamben goes on to examine subjects as diverse as the aesthetic theories of choreographer Domineco da Piacenza, Friedrich Theodor Vischer's essay on the "symbol," Walter Benjamin's concept of the dialectic image, and the bizarre discoveries of photographer Nathan Lerner in 1972. From these investigations emerges a startlingly original exploration of the ideas of time and the image. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and "Nymphs" will engage not only the author's devoted fans in philosophy, legal theory, sociology, and literary criticism, but his growing audience among art theorists and historians as well.

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In The Time That Remains, Agamben seeks to separate the Pauline texts from the history of the Church that canonized them, thus revealing them to be "the fundamental messianic texts of the West." He argues that Paul's letters are concerned not with the foundation of a new religion but rather with the "messianic" abolition of Jewish law. Situating Paul's texts in the context of early Jewish messianism, this book is part of a growing set of recent critiques devoted to the period when Judaism and Christianity were not yet fully distinct, placing Paul in the context of what has been called "Judaeo-Christianity." Agamben's philosophical exploration of the problem of messianism leads to the other major figure discussed in this book, Walter Benjamin. Advancing a claim without precedent in the vast literature on Benjamin, Agamben argues that Benjamin's philosophy of history constitutes a repetition and appropriation of Paul's concept of "remaining time." Through a close reading and comparison of Benjamin's "Theses on the Philosophy of History" and the Pauline Epistles, Agamben discerns a number of striking and unrecognized parallels between the two works.

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Two months after the attacks of 9/11, the Bush administration, in the midst of what it perceived to be a state of emergency, authorized the indefinite detention of noncitizens suspected of terrorist activities and their subsequent trials by a military commission. Here, distinguished Italian philosopher Giorgio Agamben uses such circumstances to argue that this unusual extension of power, or "state of exception," has historically been an underexamined and powerful strategy that has the potential to transform democracies into totalitarian states.The sequel to Agamben's Homo Sacer: Sovereign Power and Bare Life, State of Exception is the first book to theorize the state of exception in historical and philosophical context. In Agamben's view, the majority of legal scholars and policymakers in Europe as well as the United States have wrongly rejected the necessity of such a theory, claiming instead that the state of exception is a pragmatic question. Agamben argues here that the state of exception, which was meant to be a provisional measure, became in the course of the twentieth century a normal paradigm of government. Writing nothing less than the history of the state of exception in its various national contexts throughout Western Europe and the United States, Agamben uses the work of Carl Schmitt as a foil for his reflections as well as that of Derrida, Benjamin, and Arendt.In this highly topical book, Agamben ultimately arrives at original ideas about the future of democracy and casts a new light on the hidden relationship that ties law to violence.

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Giorgio Agamben tackles our crisis-ridden world in a series of powerful philosophical essays. “Which house is burning?” asks Giorgio Agamben. “The country where you live, or Europe, or the whole world? Perhaps the houses, the cities have already burnt down—who knows how long ago?—in a single immense blaze that we pretended not to see.” In this collection of four luminous, lyrical essays, Agamben brings his characteristic combination of philosophical acuity and poetic intensity to bear on a world in crisis. Whether surveying the burning house of our culture in the title essay, the architecture of pure exteriority in “Door and Threshold,” the language of prophecy in “Lessons in the Darkness,” or the word of the witness in “Testimony and Truth,” Agamben’s insights throw a revealing light on questions both timeless and topical. Written in dark times over the past year, and rich with the urgency of our moment, the essays in this volume also seek to show how what appears to be an impasse can, with care and attention, become the door leading to a way out.

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In 2013, Benedict XVI became only the second pope in the history of the Catholic Church to resign from office. In this brief but illuminating study, Giorgio Agamben argues that Benedict's gesture, far from being solely a matter of internal ecclesiastical politics, is exemplary in an age when the question of legitimacy has been virtually left aside in favor of a narrow focus on legality. This reflection on the recent history of the Church opens out into an analysis of one of the earliest documents of Christianity: the Second Epistle to the Thessalonians, which stages a dramatic confrontation between the "man of lawlessness" and the enigmatic katechon, the power that holds back the end of days. In Agamben's hands, this infamously obscure passage reveals the theological dynamics of history that continue to inform Western culture to this day.

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In attempting to answer the question posed by this book's title, Giorgio Agamben does not address the idea of philosophy itself. Rather, he turns to the apparently most insignificant of its components: the phonemes, letters, syllables, and words that come together to make up the phrases and ideas of philosophical discourse. A summa, of sorts, of Agamben's thought, the book consists of five essays on five emblematic topics: the Voice, the Sayable, the Demand, the Proem, and the Muse. In keeping with the author's trademark methodology, each essay weaves together archaeological and theoretical investigations: to a patient reconstruction of how the concept of language was invented there corresponds an attempt to restore thought to its place within the voice; to an unusual interpretation of the Platonic Idea corresponds a lucid analysis of the relationship between philosophy and science, and of the crisis that both are undergoing today. In the end, there is no universal answer to what is an impossible or inexhaustible question, and philosophical writing—a problem Agamben has never ceased to grapple with—assumes the form of a prelude to a work that must remain unwritten.

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In this follow-up to The Kingdom and the Glory and The Highest Poverty, Agamben investigates the roots of our moral concept of duty in the theory and practice of Christian liturgy. Beginning with the New Testament and working through to late scholasticism and modern papal encyclicals, Agamben traces the Church's attempts to repeat Christ's unrepeatable sacrifice. Crucial here is the paradoxical figure of the priest, who becomes more and more a pure instrument of God's power, so that his own motives and character are entirely indifferent as long as he carries out his priestly duties. In modernity, Agamben argues, the Christian priest has become the model ethical subject. We see this above all in Kantian ethics. Contrasting the Christian and modern ontology of duty with the classical ontology of being, Agamben contends that Western philosophy has unfolded in the tension between the two. This latest installment in the study of Western political structures begun in Homo Sacer is a contribution to the study of liturgy, an extension of Nietzsche's genealogy of morals, and a reworking of Heidegger's history of Being.

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