Bøker av Giorgio Agamben

One of Europe's greatest living philosophers, Giorgio Agamben, analyzes the life and work of one of Europe's greatest poets, Friedrich Hölderlin. What does it mean to inhabit a place or a self? What is a habit? And, for human beings, doesn't living mean--first and foremost--inhabiting? Pairing a detailed chronology of German poet Friedrich Hölderlin's years of purported madness with a new examination of texts often considered unreadable, Giorgio Agamben's new book aims to describe and comprehend a life that the poet himself called habitual and inhabited. Hölderlin's life was split neatly in two: his first 36 years, from 1770 to 1806; and the 36 years from 1807 to 1843, which he spent as a madman holed up in the home of Ernst Zimmer, a carpenter. The poet lived the first half of his existence out and about in the broader world, relatively engaged with current events, only to then spend the second half entirely cut off from the outside world. Despite occasional visitors, it was as if a wall separated him from all external events and relationships. For reasons that may well eventually become clear, Hölderlin chose to expunge all character--historical, social, or otherwise--from the actions and gestures of his daily life. According to his earliest biographer, he often stubbornly repeated, "nothing happens to me." Such a life can only be the subject of a chronology--not a biography, much less a clinical or psychological analysis. Nevertheless, this book suggests that this is precisely how Hölderlin offers humanity an entirely other notion of what it means to live. Although we have yet to grasp the political significance of his unprecedented way of life, it now clearly speaks directly to our own.

In this philosophical detective story, Giorgio Agamben reads the mysterious 1938 disappearance of atomic physicist Ettore Majorana as an intentional and decisive objection to how quantum physics had reduced the real to probability.

The three essays collected in this book offer a succinct introduction to Agamben's recent work through an investigation of Foucault's notion of apparatus, a meditation on the intimate link of philosophy to friendship, and a reflection on the singular relation with one's own time that we call contemporariness.

An erudite exploration of transgressive language from the Renaissance by one of Europe's greatest living philosophers.    This book explores how early modern authors broke linguistic boundaries, creating new words and languages that challenged traditional grammar and lexicon, providing historical insight into today's debates on the politics of language. Through a scholarly analysis by Giorgio Agamben, the text delves into the boundary-shifting language of the Renaissance, exemplified by giants like Pantagruel and Gargantua, whose outsized bodies mirror the vastness of their speech. The macaronic language invented by Teofilo Folengo, blending Latin and vernacular, embodies a linguistic rebellion that transforms language into a tangible, unruly force. Featuring illustrations from the Songes drolatiques de Pantagruel and Folengo's Baldo, this volume offers a vivid portrayal of language as a physical, dynamic entity that defies grammatical norms.

A patient, genealogical investigation of the dichotomies that are foundational to the Western philosophical tradition. We are so used to distinguishing between the possible and the real, between essence and existence that we do not realize that these distinctions, which seem so obvious to us, are the result of a long and laborious process that has led to the splitting of being--the "matter" of thought--into two fragments that are both conflicting and intimately intertwined. This book argues that the ontological-political machine of the West is based on the splitting of this "matter," without which neither science nor politics would be possible. Without the partition of reality into essence and existence and into possibility and actuality, neither scientific knowledge nor the ability to control human action--which characterizes the historical power of the West--would have been possible. If we could not suspend the exclusive concentration of our attention on what immediately exists (as animals seem to do), to think and define its essence, Western science and technology would not have experienced the advances that characterize them. And if the dimension of possibility disappeared entirely, neither plans nor projects would be thinkable, and human actions could be neither directed nor controlled. The incomparable power of the West has one of its essential presuppositions in this ontological machine.

A rare autobiographical glimpse into the life and influences of one of Europe's greatest living philosophers. This book's title, Self-Portrait in the Studio--a familiar iconographic subject in the history of painting--is intended to be taken literally: the book is a self-portrait, but one that comes into view for the reader only by way of patient scrutiny of the images, photographs, objects, and paintings present in the studios where the writer has worked and still works. That is to say, Giorgio Agamben's wager is to speak of himself solely and uniquely by speaking of others: the poets, philosophers, painters, musicians, friends, passions--in short, the meetings and encounters that have shaped his life, thought, and writing, from Martin Heidegger to Elsa Morante, from Herman Melville to Walter Benjamin, from Giorgio Caproni to Giovanni Urbani. For this reason, images are an integral part of the book, images that--like those in a rebus that together form another, larger image--ultimately combine with the written text in one of the most unusual self-portraits that any writer has left of himself: not an autobiography, but a faithful and timeless auto-heterography.

Italian philosopher Giorgio Agamben takes a close look at why the sense of taste has not historically been appreciated as a means to know and experience pleasure or why it has always been considered inferior to actual theoretical knowledge. Taste, Agamben argues, is a category that has much to reveal to the contemporary world. Taking a step into the history of philosophy and reaching to the very origins of aesthetics, Agamben critically recovers the roots of one of Western culture's cardinal concepts. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and with Taste he turns his critical eye to the realm of Western art and aesthetic practice. This volume will not only engage the author's devoted fans in philosophy, sociology, and literary criticism but also his growing audience among art theorists and historians.

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 also his growing audience among art theorists and historians as well. In 1900, art historians André 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, there emerges a startlingly original exploration of the ideas of time and the image.

One of Europe's greatest living philosophers, Giorgio Agamben, analyzes the life and work of one of Europe's greatest poets, Friedrich Hölderlin. What does it mean to inhabit a place or a self? What is a habit? And, for human beings, doesn't living mean--first and foremost--inhabiting? Pairing a detailed chronology of German poet Friedrich Hölderlin's years of purported madness with a new examination of texts often considered unreadable, Giorgio Agamben's new book aims to describe and comprehend a life that the poet himself called habitual and inhabited. Hölderlin's life was split neatly in two: his first 36 years, from 1770 to 1806; and the 36 years from 1807 to 1843, which he spent as a madman holed up in the home of Ernst Zimmer, a carpenter. The poet lived the first half of his existence out and about in the broader world, relatively engaged with current events, only to then spend the second half entirely cut off from the outside world. Despite occasional visitors, it was as if a wall separated him from all external events and relationships. For reasons that may well eventually become clear, Hölderlin chose to expunge all character--historical, social, or otherwise--from the actions and gestures of his daily life. According to his earliest biographer, he often stubbornly repeated, "nothing happens to me." Such a life can only be the subject of a chronology--not a biography, much less a clinical or psychological analysis. Nevertheless, this book suggests that this is precisely how Hölderlin offers humanity an entirely other notion of what it means to live. Although we have yet to grasp the political significance of his unprecedented way of life, it now clearly speaks directly to our own.

A brief study of select Western art from Italy's foremost philosopher. In Renaissance palaces, the studiolo was a small room to which the prince withdrew to meditate or read, surrounded by paintings he particularly loved. This book is a kind of studiolo for its author, Giorgio Agamben, as he turns his philosophical lens on the world of Western art. Studiolo is a fascinating take on a selection of artworks created over millennia; some are easily identifiable, others rarer. Though they were produced over an arc of time stretching from 5000 BCE to the present, only now have they achieved their true legibility. Agamben contends that we must understand that the images bequeathed by the past are really addressed to us, here and now; otherwise, our historical awareness is broken. Notwithstanding the attention to detail and the critical precautions that characterize the author's method--they provoke us with a force, even a violence, that we cannot escape. When we understand why Dostoevsky feared losing his faith before Holbein's Body of the Dead Christ, when Chardin's Still Life with Hare is suddenly revealed to our gaze as a crucifixion or Twombly's sculpture shows that beauty must ultimately fall, the artwork is torn from its museological context and restored to its almost prehistoric emergence. These artworks are beautifully reproduced in color throughout Agamben's short but significant addition to his scholarly oeuvre in English translation.

In a tour-de-force reinterpretation of the Christian tradition, Agamben shows that the Garden of Eden has always served as a symbol for humanity's true nature. What happened to paradise after Adam and Eve were expelled? The question may sound like a theological quibble, or even a joke, but in The Kingdom and the Garden, Giorgio Agamben uses it as a starting point for an investigation of human nature and the prospects for political transformation. In a tour-de-force reinterpretation of the Christian tradition, Agamben shows that the Garden of Eden has always served as a symbol of humanity's true nature. Where earlier theologians viewed the expulsion as temporary, Augustine's doctrine of original sin makes it permanent, reimagining humanity as the paradoxical creature that has been completely alienated from its own nature. From this perspective, there can be no return to paradise, only the hope for the messianic kingdom. Yet there have always been thinkers who rebelled against this idea, and Agamben highlights two major examples. The first is the early medieval philosopher John Scotus Eriugena, who argued for a radical unity of humanity with all living things. The second is Dante, whose vision of the earthly paradise points towards the possibility of genuine human happiness in this world. In place of the messianic kingdom, which has provided the model for modern revolutionary movements, Agamben contends that we should place our hopes for political change in a return to our origins, by reclaiming the earthly paradise.

Giorgio Agamben tackles our crisis-ridden world in a series of powerful philosophical essays.   “Which house is burning?â€? 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.â€? 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,â€? the language of prophecy in “Lessons in the Darkness,â€? or the word of the witness in “Testimony and Truth,â€? 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.

Italian philosopher Giorgio Agamben presents an account of the political upheavals that ensued as the COVID-19 pandemic brought his country-and with it his countrymen's personal liberties-to a crashing halt. While controversial, Agamben's reflections on the transformation of W...

In this volume, Agamben has collected all of his fierce, passionate, and deeply personal interventions regarding the current health emergency.

"Originally published in Italian in 2017 under the title Creazione e anarchia: l'opera nell'etaa della religione capitalistica."

"Originally published in Italian in 2017 under the title Karman: breve trattato sull'azione, la colpa e il gesto."

At the heart of Pulcinella is Agamben's exploration of an album of 104 drawings, created by Giovanni Domenico Tiepolo (1727-1804) near the end of his life, that cover the life, adventures, death, and resurrection of the title character.

In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He probes the meaning and historical consequences of the indefinite continuation of art in what Hegel called a "self-annulling" mode, in the process offering an imaginative reinterpretation of the history of aesthetics from Kant to Heidegger.

A probing investigation of the trial of Jesus by noted Italian philosopher Giorgio Agamben.

Originally published in Italian in 2016 under the title Che cos'ae la filosofia?

This latest collection of texts, which focus on the "mystery" of literature, as well as on language as a laboratory for conceiving an ethical-political perspective that places us beyond sovereign power, offer a window onto Giorgio Agamben's most current research.

The final volume in Homo Sacer, Giorgio Agamben's wide-ranging investigation of the foundations of Western politics and culture.

In this book, Agamben investigates the roots of the modern moral concept of duty in the theory and practice of Christian liturgy.

Explores the symbiosis of philosophy and literature in understanding negativity.

Arguing that Western power is both "government" and "glory," this book reveals the "theological-economic" paradigm at the origin of several of the most important components of modern politics and illuminates the function of consent and the media in today's democracies.

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.

This book, by one of Italy's most important and original contemporary philosophers, represents a broad, general, and ambitious undertaking-nothing less than an attempt to rethink the nature of poetic language and to rearticulate relationships among theology, poetry, and philosophy in a tradition of literature initiated by Dante.