The principal motif that runs throughout The Virtual Point of Freedom is a confrontation with the discourse of freedom, or, more specifically, the falsely transgressive ideal of a total emancipation t
The principal motif that runs throughout The Virtual Point of Freedom is a confrontation with the discourse of freedom, or, more specifically, the falsely transgressive ideal of a total emancipation t
In The Not-Two, Lorenzo Chiesa examines the treatment of logic and God in Lacan's later work. Chiesa draws for the most part from Lacan's Seminars of the early 1970s, as they revolve around the axiom
Countering the call by some "pro-Lacanians" for an end to the exegesis ofLacan's work--and the dismissal by "anti-Lacanians" of Lacan as impossiblyimpenetrable--Subjectivity and Otherness argues for L
Agamben charts a journey that ranges from poems of chivalry to philosophy, from Yvain to Hegel, from Beatrice to Heidegger.An ancient legend identifies Demon, Chance, Love, and Necessity as the four g
This collection provides English readers with a critical update on current debates on biopolitics in and around Italian thought. More than a decade after the publication of seminal books such as Agamb
As speaking animals, we continuously make use of an unassuming grammatical particle, without suspecting that what is at work in its inconspicuousness is a powerful apparatus, which orchestrates langua
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
What is at stake in literature? Can we identify the fire that our stories have lost, but that they strive, at all costs, to rediscover? And what is the philosopher's stone that writers, with the passi
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
What is at stake in literature? Can we identify the fire that our stories have lost, but that they strive, at all costs, to rediscover? And what is the philosopher's stone that writers, with the passion of alchemists, struggle to forge in their word furnaces? For Giorgio Agamben, who suggests that the parable is the secret model of all narrative, every act of creation tenaciously resists creation, thereby giving each work its strength and grace. The ten essays brought together here cover works by figures ranging from Aristotle to Paul Klee and illustrate what urgently drives Agamben's current research. As is often the case with his writings, their especial focus is the mystery of literature, of reading and writing, and of language as a laboratory for conceiving an ethico-political perspective that places us beyond sovereign power.
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: 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 Ideal 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 im
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
Why has power in the West assumed the form of an "economy," that is, of a government of men and things? If power is essentially government, why does it need glory, that is, the ceremonial and liturgic
Why has power in the West assumed the form of an "economy," that is, of a government of men and things? If power is essentially government, why does it need glory, that is, the ceremonial and liturgic
