Bøger af Giorgio Agamben

Det åbne er et helt centralt værk for forståelsen af Giorgio Agambens forfatterskab og desuden smukt i sin nærmest minimalistiske komposition. Bogens indledes og er oversat af Søren Gosvig Olesen.Bogens tema er forfatterskabets hovedtema: antropogenesen, eller hvordan man bliver menneske. Men Agamben går længere her end i andre af sine tekster. Han spørger, hvorvidt det stadigvæk er muligt at blive menneske, at gøre den bevægelse, gennem hvilken mennesket hæver sig ud af den øvrige natur for at opnå sin status af menneske. El­ler kort sagt – da »menneske« ikke straks betyder »enkeltmenne­ske« – han spørger, om menneskeheden stadig findes.Værket består af 20 kapitler, som hovedregel korte og fulde af citater, og som alle forsøger sig med definitioner af mennesket i forhold til dyret, alle sammen problematiske, på en eller an­den måde utilstrækkelige og uholdbare, viser det sig. Mennesket er et dyr, men det er ikke et dyr som de andre, det er også andet og mere. Men hvordan er det ‘andet og mere’ forbundet med det dyri­ske? Hvor går grænsen? Er det overhovedet muligt at trække en grænse? Hvis det er muligt, så er det i hvert fald ikke muligt med en streg, med lineal. Det er bare lige så kunstigt. Hver gang der viser sig en faktisk grænse, viser den sig at være et artefakt, i virkeligheden på én gang metafysisk og politisk.Mennesket er det væsen, der skal genkendes og anerkendes som sådan for at være, hvad det er. »Kend dig selv!« er, hvad Linné skriver til definition af mennesket i sit store klassifikationssystem. Men hvordan kan et imperativ udgøre en definition? spørger Agamben. For at afprøve det spørgsmål – om et væsen, hvis væsen aldrig er fastlagt – retter han det også til Kojève, Bataille, Uexküll og (især) Heidegger. I alt 20 korte kapitler, 20 plancher med citater og kommentarer til belysning af; hvordan mennesket bliver menneske.Giorgio Agamben (f. 1942) er en af vor tids mest markante og kontroversielle filosoffer. Hans tænkning er inspireret af bl.a. Heidegger, Benjamin, Nietzsche, Aristoteles, Marx og Derrida. For Agamben hænger sprog, litteratur, metafysik, politik og etik nøje sammen.Søren Gosvig Olesen (f. 1956), filosof, oversætter og forfatter. Han er dr.phil.habil fra Université de Nice og lektor i filosofi ved Københavns Universitet.

Midler uden mål forbereder den italienske filosof Giorgio Agambens beskrivelse af homo sacer-figuren: et af vor tids største filosofiske projekter. Bogens indledes og er oversat af Søren Gosvig Olesen.Bogen består af kortere tekster, udgivet i franske og italienske tidsskrifter og aviser, samt et enkelt forord, fra tidsrummet 1990 til 1995, året for udgivelsen af den første Homo sacer. De forskellige lejlighedsskrifter har givet Agamben lejlighed til at overveje, hvad der bliver hovedbegreber i det sene, omfattende projekt – lejr, folk, livs-form, nøgent liv, potentialitet, osv. På den måde er bogen anvendelig for den, der søger definition på dét eller dét begreb hos Agamben. Desuden udgør den en slags emnekatalog for homo sacer-projektet.Den kontroversielle filosof lægger ikke fingrene imellem; den moderne demokratiske stat hudflettes så det slår gnister – kompromisløst provokerende og forfriskende tankevækkende.Giorgio Agamben (f. 1942) er en af vor tids mest markante og kontroversielle filosoffer. Hans tænkning er inspireret af bl.a. Heidegger, Benjamin, Nietzsche, Aristoteles, Marx og Derrida. For Agamben hænger sprog, litteratur, metafysik, politik og etik nøje sammen.

Giorgio Agamben er en af vor tids vigtigste og mest indflydelsesrige filosoffer. Hans arbejde er baseret på meget originale fortolkninger af klassiske traditioner inden for filosofi og retorik. Romerretten, senantikkens filosofi, kristen teologi og moderne filosofi fra Hannah Arendt og Martin Heidegger til Michel Foucault er afgørende for hans arbejde. Agamben går derfra videre og forbinder tænkning med konkrete etisk-politiske konklusioner om samfundets tilstand i dag.I Agambens hovedværk ‘Homo sacer – den suveræne magt og det nøgne liv’ sigter han mod at knytte spørgsmålene om potentialitet, udelukkelse og magt til politisk og social etik i en verden, hvor netop etik har mistet sin tidligere religiøse, metafysiske og kulturelle forankring.Med efterskrift af oversætteren Carsten Juhl.

Signatura rerum er Giorgio Agambens metodebog og aldeles uomgængelig, hvis man vil forstå hans tænkning. Bogen indledes og er oversat af Søren Gosvig Olesen.Bogen er Agambens overvejelser over egen metode, skrevet efter adskillige prøver på denne – ganske som Vidensarkæologien var det for Foucault, som er den forfatter, Agamben kommenterer hele vejen igennem. Men ud over arkæologien er der også kommentarer til og studier i paradigmet, den hermeneutiske cirkel, analogien, dialektikken og »urfænomenet«.Det er en bog, hvor man vil se Agamben vedgå sin gæld til tyske og franske læremestre, samt til traditionen, og hvor man kan se ham gradvis komme i besiddelse af sine arbejdsredskaber. En polemisk brod stikker frem i Agambens forsøg på afklaring af de »arkæologiske« modellers ontologi; dér taler han de nutidige humanvidenskabers primitive kopiering af neurovidenskaberne midt imod.Giorgio Agamben (f. 1942) er en af vor tids mest markante og kontroversielle filosoffer. Hans tænkning er inspireret af bl.a. Heidegger, Benjamin, Nietzsche, Aristoteles, Marx og Derrida. For Agamben hænger sprog, litteratur, metafysik, politik og etik nøje sammen.Søren Gosvig Olesen (f. 1956), filosof, oversætter og forfatter. Han er dr.phil.habil fra Université de Nice og lektor i filosofi ved Københavns Universitet.

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.

Kapitalismen er at forstå som en religion. Den er ikke blot et ‘etos’ med rødder i den protestantiske etik, ikke blot en af kristendommen begunstiget samfundsformation, men langt snarere selv et essentielt religiøst fænomen.indholdForord: Mikkel Bolt & Dominique RouthierWalter Benjamin: Kapitalisme som religionRobert Kurz: Offeret og den perverse genkomst af det arkaiskeGiorgio Agamben: En kommentar, i dag

Det kommende fællesskab er en af Agambens tætteste og vigtigste tekster, og man ville endog kunne sige, at den udgør en elegant opsummering af hans tanker i det hele taget. I Det kommende fællesskab undersøger Giorgio Agamben den vestlige idehistorie med henblik på at bryde med forestillingen om, at fællesskab må basere sig på bestemte identiteter eller egenskaber, det universelle eller partikulære. Agamben søger i stedet mod andre ideer og forestillinger om fællesskab, Det kommende fællesskab. Agambens udforskning er til dels et moderne svar på Heidegger, Wittgenstein, Blanchot, Nancy og, mere historisk, Platon, Spinoza og middelalderens lærde fortolkere af den jødisk-kristne tradition.

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.

”Hvorledes at tænke en livs-form, altså et menneskeligt liv fuldstændigt unddraget rettens greb og en brug af kroppene og verden, der aldrig konkretiserer sig i en tilegnelse. Med andre ord: at tænke livet som det, der ikke kan tilskrives noget ejerskab, men kun en fælles brug.” Det er centrale emner i Den højeste fattigdom. Klosterregler og livsform, hvor Giorgio Agamben endnu engang fascinerer og imponerer med en fortolkning af mindre belyste sider af Vestens kulturhistorie, munkevæsenet og særligt Franciskanerordenen. Her opdages en ny dimension, hvor regel og liv mister deres velkendte betydning og peger imod et tredje, som værket forsøger at drage frem i lyset. Bogen er en del af Agambens stort anlagte Homo sacer projekt.

Tre forelæsninger i teoretisk filosofi af den italienske filosof Giorgio Agamben (f. 1942), der præsenterer centrale og aktuelle temaer i hans forfatterskab. I efterskrift sættes Agambens teorier i relation til andre filosoffer.

Sprogets sakramente er en indgang til Giorgio Agambens store homo sacer-projekt som helhed. Bogens indledes og er oversat af Søren Gosvig Olesen.Hvad der er på spil med eden, er ikke »bare« forholdet mellem sproget og verden, det er mennesket selv, fordi mennesket jo er det væsen, der etablerer forholdet mellem sprog og verden. Eden er ordet; den er det ord, jeg giver. Men sådan er ethvert ord. Det siger noget om noget, men dermed forpligter det også. Sproget er ikke menneskets billede af virkeligheden – eller det er det nok, men dermed er det endnu mere noget andet: Sproget et menneskets pagt med virkeligheden. Menneskets bliven menneske er ikke noget, der er sket engang; den sker hele tiden.Sprogets opståen er heller ikke noget én gang sket, sproget »bryder frem« i mennesket hele tiden, som Agamben udtrykker det. På den måde kommer vi fra edens specielle til dens almene betydning. Det er betegnende for bogen i det hele taget; det tilsyneladende specielle tema, eden og edsaflæggelsen, viser sig langt mere vidtrækkende, end man skulle tro.Giorgio Agamben (f. 1942) er en af vor tids mest markante og kontroversielle filosoffer. Hans tænkning er inspireret af bl.a. Heidegger, Benjamin, Nietzsche, Aristoteles, Marx og Derrida. For Agamben hænger sprog, litteratur, metafysik, politik og etik nøje sammen.

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.

Det spørgsmål, som den destituerende opstand stiller, går givetvis på, hvordan man skal afmontere og forlade lovenes system, men endnu mere på, hvordan det kan være muligt at gøre det, uden at man umiddelbart efter indgår i det igen.— Marcello TarìDenne bog indeholder bidrag af forfattere tilhørende kredsen om den usynlige komité, der ikke findes længere, men som igangsatte drøftelsen af begrebet destitution for ti år siden. Destitutionens begreb og historie kan forklare spændingen mellem teori og praksis og analysere overgangen fra opstand til revolution: Radikaliserede anarkismen den borgerlige revolutions satsning på frihed, lighed og broderskab, og begrundede den videnskabelige socialisme arbejderbevægelsens bestræbelse på at ophæve formerne løn, pris og profit i kapitalismen, så samler destitutionen erfaringer og vidnesbyrd fra de seneste 14 års statsundergravende kampe.

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.

I forsøget på at besvare det spørgsmål, som bogens titel stiller, tager Giorgio Agamben ikke fat på idéen om filosofi i sig selv. Snarere vender han sig mod dens tilsyneladende mest ubetydelige komponenter: fonemer, bogstaver, stavelser og ord, der samles for at udgøre sætningerne og idéerne i den filosofiske diskurs. Som en slags opsummering af Agambens tænkning består bogen af ​​fem essays om fem emblematiske emner: Stemmen, Det Sigelige, Fordringen, Proømiet og Musen. Hvert essay væver med Agambens vanlige fremgangsmåde arkæologiske og teoretiske undersøgelser sammen: til en tålmodig rekonstruktion af, hvordan sprogbegrebet blev opfundet, svarer et forsøg på at genskabe tænkningens plads i stemmen; til en usædvanlig fortolkning af den platoniske idé svarer en klar analyse af forholdet mellem filosofi og videnskab, samt den krise, som begge gennemgår i dag. I sidste ende er der ikke noget universelt svar på, hvad der er et umuligt eller uudtømmeligt spørgsmål, og det filosofiske skrift antager form af en optakt til et værk, der skal forblive uskrevet.

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.

»Der findes i dag både en »polemologi«, en teori om krigen, og en »irenologi«, en teori om freden, men der findes ingen »stasiologi«, en teori om borgerkrigen«. Stasis – Borgerkrigen som politisk paradigme er Giorgio Agambens første skridt hen imod en sådan teori. Bogen undersøger borgerkrigen ud fra to nedslag i den vestlige idehistorie: det antikke Athen (hvorfra begrebet om stasis udspringer) og den berømte frontispice til Thomas Hobbes’ Leviathan. For Agamben antager borgerkrigen forskellige former i løbet af den vestlige historie og er i dette perspektiv et afgørende paradigme for vestlig politik. Borgerkrigen er for Agamben et grænsefænomen, der udgør en tærskel mellem flere nøglebegreber i hele Homo Sacer-projektet.

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." >

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."