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丌鬲卮 賵 賯氐賴
趩賴鈥屭嗁娯槽� 丿乇 丕丿亘賷丕鬲 賲丿賳馗乇 丕爻鬲責 丌賷丕 賲蹖鈥屫堌з� 丌鬲卮蹖 乇丕 賰賴 丿丕爻鬲丕賳鈥屬囏й屸€屬呚з� 丕夭 丿爻鬲 丿丕丿賴鈥屫з嗀� 丕賲丕 亘賴 賴乇 賯賷賲鬲蹖 丿乇 氐丿丿 賰卮賮 丿賵亘丕乇踿 丌賳鈥屫з嗀� 卮賳丕爻丕賷蹖 賰乇丿責 賵 趩賷爻鬲 丌賳 爻賳诏 賮賷賱爻賵賮 賰賴 賳賵賷爻賳丿诏丕賳貙 亘丕 卮賵乇 賵 丕卮鬲賷丕賯賽 賰賷賲賷丕诏乇丕賳貙 丿乇 鬲賱丕卮鈥屫з嗀� 鬲丕 亘賴 丌賳 丿乇 賰賵乇踿 賰賱賲丕鬲 卮賰賱 丿賴賳丿責 賳夭丿 噩賵乇噩賵 丌诏丕賲亘賳 賰賴 賲賷鈥屭堎娯� 鬲賲孬賷賱 丕賱诏賵蹖 倬賳賴丕賳 鬲賲丕賲 乇賵丕賷鬲鈥屬囏ж池� 賴乇 毓賲賱 丌賮乇賷賳卮蹖 爻乇爻禺鬲丕賳賴 丿乇 亘乇丕亘乇 丌賮乇賷賳卮 賲賯丕賵賲鬲 賲蹖鈥屬冑嗀� 丕夭丕賷賳鈥屫辟� 亘賴 賴乇 丕孬乇蹖 賯丿乇鬲 賵 賱胤賮鈥屫ж� 乇丕 賲蹖鈥屫ㄘ簇�.
丿賴 賲賯丕賱踿 诏乇丿丌賵乇蹖 卮丿賴 丿乇 讴鬲丕亘 丌鬲卮 賵 賯氐賴: 噩爻鬲丕乇賴丕蹖蹖 丿乇亘丕乇踿 丕丿亘蹖丕鬲 丌孬丕乇蹖 丕夭 禺賵丕賳卮 賮賷诏賵乇鈥屬囏й� 賲禺鬲賱賮 丕夭 丕乇爻胤賵 亘诏賷乇 鬲丕 倬賱 賰賱賴 乇丕 倬賵卮卮 賲蹖鈥屫囐嗀� 賵 賳卮丕賳鈥屫囐嗀€ 丕賷賳鈥屫з嗀� 賰賴 趩賴 趩賷夭蹖 倬跇賵賴卮鈥屬囏й� 丕禺賷乇 丌诏丕賲亘賳 乇丕 亘丕 賮卮丕乇 亘賴鈥屬举娯� 賲蹖鈥屫必з嗀�. 賴賲丕賳鈥屫焚堌� 賰賴 丕睾賱亘 丿乇 賲賵乇丿 賳賵卮鬲賴鈥屬囏й� 鈥屫②з呚ㄙ� 丿賷丿賴 賲蹖鈥屫促堌� 鬲賲乇賰夭 賵賷跇踿鈥� 賳賵卮鬲丕乇 丕賵 賲毓胤賵賮 亘賴 賲毓賲丕蹖 丕丿亘賷丕鬲貙 禺賵丕賳丿賳 賵 賳賵卮鬲賳貙 賵 夭亘丕賳 亘賴鈥屫官嗁堌з� 丌夭賲丕賷卮诏丕賴蹖 亘乇丕蹖 丿乇賰 賳賵毓賷 丿賷丿诏丕賴 爻賷丕爻蹖鈥屬€鈥屫ж勜з傐� 丕爻鬲 賰賴 賲丕 乇丕 丿乇 賵乇丕蹖 賯丿乇鬲 丨丕賰賲賷鬲 賯乇丕乇 賲蹖鈥屫囏�.
丿賴 賲賯丕賱踿 诏乇丿丌賵乇蹖 卮丿賴 丿乇 讴鬲丕亘 丌鬲卮 賵 賯氐賴: 噩爻鬲丕乇賴丕蹖蹖 丿乇亘丕乇踿 丕丿亘蹖丕鬲 丌孬丕乇蹖 丕夭 禺賵丕賳卮 賮賷诏賵乇鈥屬囏й� 賲禺鬲賱賮 丕夭 丕乇爻胤賵 亘诏賷乇 鬲丕 倬賱 賰賱賴 乇丕 倬賵卮卮 賲蹖鈥屫囐嗀� 賵 賳卮丕賳鈥屫囐嗀€ 丕賷賳鈥屫з嗀� 賰賴 趩賴 趩賷夭蹖 倬跇賵賴卮鈥屬囏й� 丕禺賷乇 丌诏丕賲亘賳 乇丕 亘丕 賮卮丕乇 亘賴鈥屬举娯� 賲蹖鈥屫必з嗀�. 賴賲丕賳鈥屫焚堌� 賰賴 丕睾賱亘 丿乇 賲賵乇丿 賳賵卮鬲賴鈥屬囏й� 鈥屫②з呚ㄙ� 丿賷丿賴 賲蹖鈥屫促堌� 鬲賲乇賰夭 賵賷跇踿鈥� 賳賵卮鬲丕乇 丕賵 賲毓胤賵賮 亘賴 賲毓賲丕蹖 丕丿亘賷丕鬲貙 禺賵丕賳丿賳 賵 賳賵卮鬲賳貙 賵 夭亘丕賳 亘賴鈥屫官嗁堌з� 丌夭賲丕賷卮诏丕賴蹖 亘乇丕蹖 丿乇賰 賳賵毓賷 丿賷丿诏丕賴 爻賷丕爻蹖鈥屬€鈥屫ж勜з傐� 丕爻鬲 賰賴 賲丕 乇丕 丿乇 賵乇丕蹖 賯丿乇鬲 丨丕賰賲賷鬲 賯乇丕乇 賲蹖鈥屫囏�.
128 pages, Paperback
First published May 8, 2014
21 people are currently reading
228 people want to read
About the author
Giorgio Agamben
216听books935听followersGiorgio Agamben is one of the leading figures in Italian and contemporary continental philosophy. He is the author of Homo Sacer: Sovereign Power and Bare Life; Remnants of Auschwitz: The Witness and the Archive; Profanations; The Signature of All Things: On Method, and other books. Through the 1970s, 1980s, and early 1990s he treated a wide range of topics, including aesthetics, literature, language, ontology, nihilism, and radical political thought.
In recent years, his work has had a deep impact on contemporary scholarship in a number of disciplines in the Anglo-American intellectual world. Born in Rome in 1942, Agamben completed studies in Law and Philosophy with a doctoral thesis on the political thought of Simone Weil, and participated in Martin Heidegger鈥檚 seminars on Hegel and Heraclitus as a postdoctoral scholar.
He rose to international prominence after the publication of Homo Sacer in 1995. Translated into English in 1998, the book鈥檚 analyses of law, life, and state power appeared uncannily prescient after the attacks on New York City and Washington, DC in September 2001, and the resultant shifts in the geopolitical landscape. Provoking a wave of scholarly interest in the philosopher鈥檚 work, the book also marked the beginning of a 20-year research project, which represents Agamben鈥檚 most important contribution to political philosophy.
In recent years, his work has had a deep impact on contemporary scholarship in a number of disciplines in the Anglo-American intellectual world. Born in Rome in 1942, Agamben completed studies in Law and Philosophy with a doctoral thesis on the political thought of Simone Weil, and participated in Martin Heidegger鈥檚 seminars on Hegel and Heraclitus as a postdoctoral scholar.
He rose to international prominence after the publication of Homo Sacer in 1995. Translated into English in 1998, the book鈥檚 analyses of law, life, and state power appeared uncannily prescient after the attacks on New York City and Washington, DC in September 2001, and the resultant shifts in the geopolitical landscape. Provoking a wave of scholarly interest in the philosopher鈥檚 work, the book also marked the beginning of a 20-year research project, which represents Agamben鈥檚 most important contribution to political philosophy.
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March 2, 2025
(賴賲鈥屭嗁嗀з� 賳氐賮 亘蹖卮鈥屫� 讴鬲丕亘鈥屬囏й� 賮賱爻賮蹖鈥屫й� 讴賴 賲蹖鈥屫堎嗁� 乇賵鈥� 賳賲蹖鈥屬佡囐呝�.)
丕夭 丕蹖賳 讴鬲丕亘 賱匕鬲 禺蹖賱蹖 夭蹖丕丿蹖 亘乇丿賲鈥�. 賳诏丕賴 丌诏丕賲亘賳 賵 噩賵乇蹖 讴賴 賮讴乇 賲蹖鈥屭┵嗁� 賵丕賯毓丕賸 噩匕丕亘賴貙 丨鬲丕 亘蹖卮 丕夭 賲丨鬲賵丕蹖 丕賳丿蹖卮賴鈥屫�. 噩賵乇蹖 讴賴 丕賱丕賴蹖丕鬲 乇賵 亘賴 讴丕乇 賲蹖鈥屭屫辟� 賵 亘賴 趩蹖夭賴丕蹖蹖 丕夭卮 丕爻鬲賳鬲丕噩 賲蹖鈥屭┵嗁� 讴賴 丿乇爻鬲 囟丿 馗丕賴乇 丕賱丕賴蹖丕鬲鈥屫з� (賯賽爻賲蹖 賵丕爻丕夭蹖責).
賵 丿乇亘丕乇賴鈥屰� 鬲乇噩賲賴. 鬲乇噩賲賴 禺賵亘 賳亘賵丿貙 亘丿 賴賲 賳亘賵丿. 丕賮鬲鈥屬堌屫� 丿丕卮鬲. 噩丕賴丕蹖蹖 賳丕賲賮賴賵賲 賲蹖鈥屫簇� 賵 賳丨賵 丕賱讴賳蹖 丿丕卮鬲 賵 噩丕賴丕蹖蹖 禺賵亘 亘賵丿. 睾賱胤鈥屬囏й� 鬲丕蹖倬蹖 鬲賵蹖 讴鬲丕亘 倬乇 亘賵丿. 丕诏乇 讴鬲丕亘 賵蹖乇丕蹖卮 禺賵亘蹖 丿丕卮鬲 丕夭 丕蹖賳鈥屭嗃屫槽� 讴賴 亘賵丿 禺蹖賱蹖 亘賴鬲乇 賲蹖鈥屫簇�. 丕賱亘鬲賴 丕賳诏賱蹖爻蹖 乇賵 讴賴 诏丕賴鈥屫ㄙ団€屭з� 賳诏丕賴 賲蹖鈥屭┴必� 趩賳丿噩丕 賲毓丕丿賱鈥屭柏ж臂屸€屬囏й� 爻禺鬲 賵 丿蹖乇賮賴賲 丿蹖丿賲. 亘丿亘禺鬲丕賳賴 丕賱丕賳 丿賯蹖賯 禺丕胤乇賲 賳蹖爻鬲.
丕夭 丕蹖賳 讴鬲丕亘 賱匕鬲 禺蹖賱蹖 夭蹖丕丿蹖 亘乇丿賲鈥�. 賳诏丕賴 丌诏丕賲亘賳 賵 噩賵乇蹖 讴賴 賮讴乇 賲蹖鈥屭┵嗁� 賵丕賯毓丕賸 噩匕丕亘賴貙 丨鬲丕 亘蹖卮 丕夭 賲丨鬲賵丕蹖 丕賳丿蹖卮賴鈥屫�. 噩賵乇蹖 讴賴 丕賱丕賴蹖丕鬲 乇賵 亘賴 讴丕乇 賲蹖鈥屭屫辟� 賵 亘賴 趩蹖夭賴丕蹖蹖 丕夭卮 丕爻鬲賳鬲丕噩 賲蹖鈥屭┵嗁� 讴賴 丿乇爻鬲 囟丿 馗丕賴乇 丕賱丕賴蹖丕鬲鈥屫з� (賯賽爻賲蹖 賵丕爻丕夭蹖責).
賵 丿乇亘丕乇賴鈥屰� 鬲乇噩賲賴. 鬲乇噩賲賴 禺賵亘 賳亘賵丿貙 亘丿 賴賲 賳亘賵丿. 丕賮鬲鈥屬堌屫� 丿丕卮鬲. 噩丕賴丕蹖蹖 賳丕賲賮賴賵賲 賲蹖鈥屫簇� 賵 賳丨賵 丕賱讴賳蹖 丿丕卮鬲 賵 噩丕賴丕蹖蹖 禺賵亘 亘賵丿. 睾賱胤鈥屬囏й� 鬲丕蹖倬蹖 鬲賵蹖 讴鬲丕亘 倬乇 亘賵丿. 丕诏乇 讴鬲丕亘 賵蹖乇丕蹖卮 禺賵亘蹖 丿丕卮鬲 丕夭 丕蹖賳鈥屭嗃屫槽� 讴賴 亘賵丿 禺蹖賱蹖 亘賴鬲乇 賲蹖鈥屫簇�. 丕賱亘鬲賴 丕賳诏賱蹖爻蹖 乇賵 讴賴 诏丕賴鈥屫ㄙ団€屭з� 賳诏丕賴 賲蹖鈥屭┴必� 趩賳丿噩丕 賲毓丕丿賱鈥屭柏ж臂屸€屬囏й� 爻禺鬲 賵 丿蹖乇賮賴賲 丿蹖丿賲. 亘丿亘禺鬲丕賳賴 丕賱丕賳 丿賯蹖賯 禺丕胤乇賲 賳蹖爻鬲.
October 18, 2020
The Fire and the Tale (2014, in Italian) is another of Agamben鈥檚 shorter books of miscellaneous essays (like Profanations and Nudities), but with a more unified focus on the nexus between art (or creativity and poetics generally) and life. All the sections seem to be written between 2010鈥�2014, and in one sense can be read as a continuation and hybridization of Agamben鈥檚 sporadic investigation into the fate of aesthetics and 鈥淎rt鈥� (as a distinct sphere), from his first book The Man Without Content (1970) to his 鈥淔orm-of-Life鈥� sections from part III of The Use of Bodies (2014). (There are even a few sections which seem to directly mirror text published in The Use of Bodies, such as the metaphor of whirlpools/eddies applied to modes of a substance [within the 鈥淰ortexes鈥� chapter here], and his remarks on Hadot鈥檚 supposed initial misunderstanding of Foucault on care-of-the-self [within the 鈥淥pus Alchymicum鈥� chapter here].)
But whereas The Use of Bodies relies on detailed textual analysis to make its suggestive conclusions, the essays here include an outright sense of mystery (or 鈥渇ire鈥�). Although these are disparate essays, the collection opens and closes with separate, explicit mentions of mysticism, by way of Gershom Scholem鈥檚 and Ren茅 Daumal鈥檚 independent reliance on mountain metaphors and Cabalistic notions of 鈥渟parks鈥�/fire, in such a way bookending the volume to highlight the mysterious zone between inspiration and expression (but expression in the generic sense, not confined to a recognized, sanctioned art world or literary establishment 鈥斕齛s Agamben is careful to stress, 鈥溾€ rather prefer to speak of the poetic act, and although I will continue to avail myself of the term creation for convenience, I would like it to be understood without any emphasis, in the simple sense of poiein, 鈥榯o produce鈥欌€� 鈥� which, also, is how Agamben often seems to abstractly link poetics to the foundation of politics, referring to them as simply two dimensions of the 鈥渄eeds of man鈥� in a generic sense).
The short section 鈥淚n the Name of What?鈥� is especially intriguing, since it begs the question, for readers of Agamben, in the name of what is he himself writing? It is clearly not: religion, any coherent 鈥渆xistentialism,鈥� a political ideology, etc. For Agamben, it seems that the mysterious foundation of language itself, filled with potentiality, is what he is willing to claim as the only honest self-professed inspiration, and all the implications this may have for poetics and politics (鈥溾€he one who finally decides to speak鈥攐r to keep silent鈥攊n the name of this demand does not need, for his word or silence, any other legitimacy鈥�).
But whereas The Use of Bodies relies on detailed textual analysis to make its suggestive conclusions, the essays here include an outright sense of mystery (or 鈥渇ire鈥�). Although these are disparate essays, the collection opens and closes with separate, explicit mentions of mysticism, by way of Gershom Scholem鈥檚 and Ren茅 Daumal鈥檚 independent reliance on mountain metaphors and Cabalistic notions of 鈥渟parks鈥�/fire, in such a way bookending the volume to highlight the mysterious zone between inspiration and expression (but expression in the generic sense, not confined to a recognized, sanctioned art world or literary establishment 鈥斕齛s Agamben is careful to stress, 鈥溾€ rather prefer to speak of the poetic act, and although I will continue to avail myself of the term creation for convenience, I would like it to be understood without any emphasis, in the simple sense of poiein, 鈥榯o produce鈥欌€� 鈥� which, also, is how Agamben often seems to abstractly link poetics to the foundation of politics, referring to them as simply two dimensions of the 鈥渄eeds of man鈥� in a generic sense).
The short section 鈥淚n the Name of What?鈥� is especially intriguing, since it begs the question, for readers of Agamben, in the name of what is he himself writing? It is clearly not: religion, any coherent 鈥渆xistentialism,鈥� a political ideology, etc. For Agamben, it seems that the mysterious foundation of language itself, filled with potentiality, is what he is willing to claim as the only honest self-professed inspiration, and all the implications this may have for poetics and politics (鈥溾€he one who finally decides to speak鈥攐r to keep silent鈥攊n the name of this demand does not need, for his word or silence, any other legitimacy鈥�).
May 15, 2018
Me cost贸 entrar y habituarme. Creo que nunca te habit煤as del todo y te sorprenden momentos de lucidez profunda. Seguimos d谩ndole vueltas.
July 26, 2021
"Ao dizer 'mas podemos narrar a hist贸ria de tudo isso', o rabino havia, ali谩s, asseverado exatamente o contr谩rio. 'Tudo isso' significa perda e esquecimento, e o que a narrativa conta 茅 precisamente a hist贸ria da perda do fogo, do lugar e da prece. Todo relato - toda a literatura - 茅, nesse sentido, mem贸ria da perda do fogo."
March 11, 2024
Le铆do para Teor铆as literarias actuales. Agamben eres perfecto <3
February 25, 2025
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喔栢付喔囙笗喔｀竾喔權傅喙� 喔竵喔编浮喙€喔氞笝喔佮箛喙勦笖喙夃競喔⑧覆喔⑧竸喔о覆喔∴箖喔箟喙€喔箛喔權笗喙堗腑喔о箞喔侧竵喔侧福喔笝喔竾喔曕腑喔氞笗喙堗腑喔父喔氞副喔曕复喙€喔笗喔膏笚喔侧竾喔勦抚喔侧浮喔勦复喔斷箖喔權競喔撪赴喔福喙夃覆喔囙釜喔｀福喔勦箤喔溹弗喔囙覆喔權笖喔编竾喔佮弗喙堗覆喔о笝喔掂箟喙€喔竾喔椸傅喙堗腑喔侧笀喔栢阜喔箘喔斷箟喔о箞喔侧箑喔涏箛喔權辅喔编竵喔⑧笭喔侧笧喔副喔權箒喔椸箟喔堗福喔脆竾喔傕腑喔囙浮喔權父喔┼涪喙屶笅喔多箞喔囙竵喙囙竸喔粪腑喔ㄠ副喔佮涪喔犩覆喔炧競喔竾喔佮覆喔｀竵喙夃覆喔о競喙夃覆喔∴笜喔｀福喔∴笂喔侧笗喔脆笗喙堗覆喔囙箚 喔福喔粪腑喔佮箛喔勦阜喔辅喔编竵喔⑧笭喔侧笧喔傕腑喔囙竵喔侧福喔傕箟喔侧浮喔溹箞喔侧笝喔ㄠ副喔佮涪喔犩覆喔炧箑喔竾 喙傕笖喔⑧腑喔佮副喔∴箑喔氞笝喙€喔｀傅喔⑧竵喔ㄠ副喔佮涪喔犩覆喔炧競喔竾喔佮覆喔｀竵喙夃覆喔о競喙夃覆喔∴笜喔｀福喔∴笂喔侧笗喔脆笝喔掂箟鈥斷笢喙堗覆喔權竵喔侧福喔箟喔侧竾喔复喔囙箘喔涏笘喔多竾喔傕箟喔箑喔傕傅喔⑧笝喔傕腑喔囙腑喔｀复喔箓喔曕箑喔曕复喔モ€斷抚喙堗覆 inoperative 喔福喔粪腑喔佮覆喔｀箘喔∴箞喔涏笍喔脆笟喔编笗喔脆竾喔侧笝喔曕覆喔∴斧喔權箟喔侧笚喔掂箞 喙€喔炧福喔侧赴喔∴笝喔膏俯喔⑧箤(喔曕覆喔∴笚喔编辅喔權赴喙佮笟喔氞腑喔｀复喔箓喔曕箑喔曕复喔ム笚喔掂箞喔竵喔编浮喙€喔氞笝喔箟喔侧竾喔栢付喔�) 喔勦阜喔釜喔脆箞喔囙浮喔掂笂喔掂抚喔脆笗喔椸傅喙堗笡喔｀覆喔ㄠ笀喔侧竵喔囙覆喔權斧喔｀阜喔斧喔權箟喔侧笚喔掂箞喔曕覆喔∴笜喔｀福喔∴笂喔侧笗喔�(ergon) 喙佮笗喔佮笗喙堗覆喔囙笀喔侧竵喔复喙堗竾喔∴傅喔娻傅喔о复喔曕腑喔粪箞喔權箚 喔∴笝喔膏俯喔⑧箤喔堗付喔囙浮喔掂辅喔编竵喔⑧笭喔侧笧喔椸傅喙堗笀喔班箑喔涏箛喔權斧喔｀阜喔笚喔赤腑喔班箘喔｀竵喙囙箘喔斷箟喙傕笖喔⑧箘喔∴箞喔涪喔灌箞喔犩覆喔⑧箖喔曕箟喔傕傅喔斷笀喔赤竵喔编笖喔椸傅喙堗笘喔灌竵喔佮赋喔笝喔斷箓喔斷涪喔樴福喔｀浮喔娻覆喔曕复 喔斷副喔囙笝喔编箟喔� 喔佮覆喔｀釜喔｀箟喔侧竾喔福喔｀竸喙屶笅喔多箞喔囙釜喔编浮喔炧副喔權笜喙屶竵喔编笟喔佮覆喔｀釜喔權腑喔囙笗喔笟喔佮副喔氞腑喔膏笟喔编笗喔脆箑喔笗喔膏笚喔侧竾喔勦抚喔侧浮喔勦复喔斷笚喔掂箞喔傕箟喔侧浮喔溹箞喔侧笝喔傕傅喔斷笀喔赤竵喔编笖喔曕箞喔侧竾喙� 喔堗付喔囙箘喔∴箞喙冟笂喙堗腑喔班箘喔｀箑喔ム涪喔權腑喔佮笀喔侧竵喔佮覆喔｀涪喔粪笝喔⑧副喔權笘喔多竾喔ㄠ副喔佮涪喔犩覆喔炧競喔竾喔∴笝喔膏俯喔⑧箤喔椸傅喙堗箓喔斷涪喔曕副喔о浮喔编笝喙€喔竾喙佮弗喙夃抚喔勦阜喔� inoperative 喔涏福喔侧辅喔堗覆喔佮箑喔涏箟喔侧斧喔∴覆喔� 喔涏弗喔侧涪喔椸覆喔� 喙€喔曕箛喔∴箘喔涏笖喙夃抚喔⑧竸喔о覆喔∴箘喔∴箞喙佮笝喙堗箘喔∴箞喔權腑喔� 喙佮弗喔班箑喔涏傅喙堗涪喔∴笖喙夃抚喔⑧竸喔о覆喔∴箑喔涏箛喔權箘喔涏箘喔斷箟喔涪喙堗覆喔囙箘喔｀箟喔傕傅喔斷笀喔赤竵喔编笖 喔斷箟喔о涪喙€喔笗喔膏笝喔掂箟 喔佮覆喔｀釜喔｀箟喔侧竾喔福喔｀竸喙屶笀喔多竾喙€喔涏箛喔權竵喔侧福喔曕箞喔笗喙夃覆喔權箓喔斷涪喔副喔曕箓喔權浮喔编笗喔� 喙€喔炧福喔侧赴喔赋喔福喔编笟喔竵喔编浮喙€喔氞笝喙佮弗喙夃抚 喔勦赋喔о箞喔侧笗喙堗腑喔曕箟喔侧笝喔福喔粪腑 resist 喔堗赴喔∴傅喔｀覆喔佮浮喔侧笀喔侧竵喔犩覆喔┼覆喔ム赴喔曕复喔權竸喔粪腑喔勦赋喔о箞喔� sisto 喔嬥付喙堗竾喔浮喔侧涪喔栢付喔囙竵喔侧福喔涪喔膏笖 喔佮覆喔｀涪喔编箟喔� 喔福喔粪腑喔涪喔膏笖喔曕副喔о箑喔竾(to stop oneself) 喔佮覆喔｀笗喙堗腑喔曕箟喔侧笝喔堗付喔囙箑喔涏箛喔權箑喔｀阜喙堗腑喔囙競喔竾喔佮覆喔｀斧喔⑧父喔斷涪喔编箟喔囙笗喔编抚喙€喔竾喙勦浮喙堗箖喔箟喔曕箟喔竾喔椸赋喔囙覆喔權笗喔侧浮喔笝喙夃覆喔椸傅喙堗笗喙堗覆喔囙箚 喔佮覆喔｀釜喔｀箟喔侧竾喔福喔｀竸喙屶笅喔多箞喔囙釜喔编浮喔炧副喔權笜喙屶竵喔编笟喔佮覆喔｀涪喔粪笝喔⑧副喔權辅喔编竵喔⑧笭喔侧笧喔傕腑喔囙浮喔權父喔┼涪喙屶笚喔掂箞喔曕副喙夃竾喔涪喔灌箞喔氞笝 inoperative 喔福喔粪腑喔佮覆喔｀箘喔∴箞喔涏笍喔脆笟喔编笗喔脆竾喔侧笝喔曕覆喔∴笚喔掂箞喔栢腹喔佮竵喔赤斧喔權笖鈥撪釜喔赤斧喔｀副喔氞腑喔佮副喔∴箑喔氞笝鈥斷笀喔多竾喔⑧箞喔浮喙€喔涏箛喔權竵喔侧福喔曕箞喔笗喙夃覆喔權腑喔⑧箞喔侧竾喙勦浮喙堗腑喔侧笀喔弗喔掂竵喙€喔ム傅喙堗涪喔囙箘喔涏箘喔斷箟 喔佮覆喔｀釜喔｀箟喔侧竾喔福喔｀竸喙屶竸喔粪腑喔佮覆喔｀笗喙堗腑喔曕箟喔侧笝喙傕笖喔⑧箘喔∴箞喔堗赋喙€喔涏箛喔權笗喙夃腑喔囙浮喔掂箑喔涏箟喔侧箒喔箞喔囙竵喔侧福喔曕箞喔笗喙夃覆喔� 喙€喔涏箛喔權竵喔侧福喔曕箞喔笗喙夃覆喔權笚喔掂箞喔堗赴喔佮弗喔编笟喔∴覆喔⑧阜喔權涪喔编笝喔ㄠ副喔佮涪喔犩覆喔炧競喔竾喔∴笝喔膏俯喔⑧箤喔椸傅喙堗笧喔｀箟喔浮喔佮箟喔侧抚喔傕箟喔侧浮喔ㄠ副喔佮涪喔犩覆喔炧笗喙堗覆喔囙箚喔涪喙堗覆喔囙箘喔｀箟喔傕傅喔斷笀喔赤竵喔编笖喙€喔浮喔�
喔娻腑喔氞浮喔侧竵 喔栢阜喔箑喔涏箛喔權斧喔權付喙堗竾喙冟笝喔囙覆喔權箑喔傕傅喔⑧笝喔傕腑喔囙腑喔佮副喔∴箑喔氞笝喔椸傅喙堗笂喔笟喔椸傅喙堗釜喔膏笖 喙佮笝喔班笝喔赤竸喔｀副喔� 喔赋喔福喔编笟喔勦笝喔椸傅喙堗釜喔權箖喔堗笡喔｀赴喙€喔斷箛喔權笚喔侧竾喔涏福喔编笂喔嵿覆 喔父喔權笚喔｀傅喔⑧辅喔侧釜喔曕福喙屶笗喙堗覆喔囙箚 喔溹浮喔勦复喔斷抚喙堗覆喙勦浮喙堗竸喔о福喔炧弗喔侧笖喙€喔ム箞喔∴笝喔掂箟喔堗福喔脆竾喙�
December 18, 2024
鈥淓l fuego y el relato鈥�, 鈥淢ysterium burocraticum鈥� y 鈥淒el libro a la pantalla鈥� fueron lecturas retadoras y muy, muy sorprendentes. De mis libros favoritos de este a帽o sin duda. 隆Qu茅 luminoso todo!
February 8, 2018
'I am dead because I have no desire,
I have no desire because I think I possess,
I think I possess because I do not try to give.
Trying to give, one sees one has nothing,
Seeing one has nothing, one tries to give oneself,
Trying to give oneself, one sees one is nothing,
Seeing one is nothing, one tries to become,
Desiring to become, one lives.'
I have no desire because I think I possess,
I think I possess because I do not try to give.
Trying to give, one sees one has nothing,
Seeing one has nothing, one tries to give oneself,
Trying to give oneself, one sees one is nothing,
Seeing one is nothing, one tries to become,
Desiring to become, one lives.'
Read
April 16, 2021i read this as a part of a literature class. i dont think this is the sort of text i can give a star rating. it was difficult. i maybe followed what feels like about 5% of it, but i found myself underlining and taking a fair number of notes and i think there's a depth here that i can barely see but that i sense beyond the screen of the lake, a richness worth wrestling with
June 23, 2019
Di dieci saggi almeno sei mi hanno lasciato piuttosto freddino. Particolarmente interessanti e belli 鈥淚l fuoco e il racconto鈥�, 鈥淒al libro allo schermo鈥� e 鈥淧asqua in Egitto鈥�. Capolavoro l鈥檜ltimo: 鈥淥pus alchymicum鈥�, per il quale vale il prezzo del libro e le conseguenti stelle.
August 13, 2022
Todos los ensayos recogidos en este libro son magnificos, explorando desde diversos frentes la escritura: sus repercusiones en el escritor, el proceso imaginativo, el formato y sus implicaciones, etc.
Maravilloso.
Maravilloso.
May 2, 2018
A veces apasionante, a veces demasiado espeso.
December 25, 2022
鈥嬧€嬓� 褑械谢芯屑, 褔懈褌邪褌褜 褝褌芯褌 褋斜芯褉薪懈泻 褟胁薪褘褏 锌褉懈褔懈薪 薪械褌. 袨薪 斜芯谢褜褕械 写谢褟 褑械薪懈褌械谢械泄 袗谐邪屑斜械薪邪 薪邪 屑邪泻褋懈屑邪谢泻邪褏. 啸芯褌褟 薪械 屑芯谐褍 褋泻邪蟹邪褌褜, 褔褌芯 褋斜芯褉薪懈泻 褝褋褋械 胁芯芯斜褖械 锌芯锌邪写械褌 屑懈屑芯 胁邪褋. 袣邪泻 屑懈薪懈屑褍屑, 胁褘 褍蟹薪邪械褌械 屑薪芯谐芯 懈薪褌械褉械褋薪褘褏 褎邪泻褌芯胁. 袩褉芯 袘邪褉褌邪 懈 袩芯写谐芯褌芯胁泻褍 褉芯屑邪薪邪, 笑械谢邪薪邪 懈 袝谐懈锌械褌, 袘械薪褜褟屑懈薪邪 懈 胁芯写芯胁芯褉芯褌褘, 袞械谢械蟹邪 懈 邪泻褌 褌胁芯褉械薪懈褟/褋芯锌褉芯褌懈胁谢械薪懈褟, 锌褉芯 谐谢邪谐芯谢 parlare 懈 笑邪褉褋褌胁懈械 袧械斜械褋薪芯械.
协褋褋械 芦袣芯褋褌械褉 懈 褉邪褋褋泻邪蟹禄 蟹邪写邪械褌 褌芯薪 褋斜芯褉薪懈泻褍. 袙 薪褢屑 袗谐邪屑斜械褉 褉邪蟹斜懈褉邪械褌, 锌芯褔械屑褍 泻芯褉薪懈 褉芯屑邪薪邪 谢械卸邪褌 胁 屑懈褋褌械褉懈懈, 胁 懈薪懈褑懈邪褑懈懈 懈 锌褍褌懈 谐械褉芯褟. 袩芯褔褌懈 泻邪卸写芯械 褝褋褋械 褋薪邪斜卸械薪芯 泻邪褉褌懈薪泻邪屑懈. 袘褘谢芯 斜褘 械褖械 懈蟹写邪薪懈械 斜芯谐邪褌芯械 泻邪泻 褍 袧芯褋芯褉芯谐邪, 薪邪锌褉懈屑械褉, 蟹邪褋谢褍卸懈谢芯 斜褘 屑械褋褌芯 薪邪 卸褍褉薪邪谢褜薪芯屑 褋褌芯谢懈泻械.
袩芯褝褌懈褔薪芯褋褌褜 褎懈谢芯褋芯褎懈懈 袗谐邪屑斜械薪邪, 泻邪泻 胁褋械谐写邪, 薪邪 胁褘褋褕械屑 褍褉芯胁薪械 芯褔邪褉芯胁邪薪懈褟
协褋褋械 芦袣芯褋褌械褉 懈 褉邪褋褋泻邪蟹禄 蟹邪写邪械褌 褌芯薪 褋斜芯褉薪懈泻褍. 袙 薪褢屑 袗谐邪屑斜械褉 褉邪蟹斜懈褉邪械褌, 锌芯褔械屑褍 泻芯褉薪懈 褉芯屑邪薪邪 谢械卸邪褌 胁 屑懈褋褌械褉懈懈, 胁 懈薪懈褑懈邪褑懈懈 懈 锌褍褌懈 谐械褉芯褟. 袩芯褔褌懈 泻邪卸写芯械 褝褋褋械 褋薪邪斜卸械薪芯 泻邪褉褌懈薪泻邪屑懈. 袘褘谢芯 斜褘 械褖械 懈蟹写邪薪懈械 斜芯谐邪褌芯械 泻邪泻 褍 袧芯褋芯褉芯谐邪, 薪邪锌褉懈屑械褉, 蟹邪褋谢褍卸懈谢芯 斜褘 屑械褋褌芯 薪邪 卸褍褉薪邪谢褜薪芯屑 褋褌芯谢懈泻械.
袩芯褝褌懈褔薪芯褋褌褜 褎懈谢芯褋芯褎懈懈 袗谐邪屑斜械薪邪, 泻邪泻 胁褋械谐写邪, 薪邪 胁褘褋褕械屑 褍褉芯胁薪械 芯褔邪褉芯胁邪薪懈褟
September 6, 2021
Titolo quasi completamente casuale, ma comunque 猫 bello cos矛: saggi nell'insieme molto acuti. Parole chiave: inoperosit脿 e molti altri tipi di 'spazi negativi d'azione' (passatemi e scusatemi il termine non suo, per brevit脿), potenza (nell'accezione di Spinoza) in contrapposizione all'opera finita (dynamis vs ergon e robe del genere ma con agilit脿 e brio), Seit脿 come rapporto etico soggetto-opera. Parecchio Barthes ma non solo. Spicca un bell'excursus sulla storia dell'oggetto-libro culminante in alcuni pensieri notevoli sulla lettura digitale.
January 8, 2021
There is the fire and then there is literature. This might be the best way to think of what the author wishes to convey in this essay. The fire is the original source material that kept humanity from perishing. All the ceremonies associated with fire have now gone by the wayside, yet we still have literature. Let's dig a little deeper.
In the modern world, tradition has now lost much of its fascination. Or, to put it another way, the 'hold that tradition had on people' has been loosened. Much of this was accomplished by democratic movements, social movements, and scientific research; not in themselves, but the ideas these movements produced in the average intellect. That's a far cry from saying we don't need the truths in tradition. The author's own questions poses for us the problem: What is literature sufficient for? Can we actually read/hear literature without trying to recollect the original fire?
In the modern world, tradition has now lost much of its fascination. Or, to put it another way, the 'hold that tradition had on people' has been loosened. Much of this was accomplished by democratic movements, social movements, and scientific research; not in themselves, but the ideas these movements produced in the average intellect. That's a far cry from saying we don't need the truths in tradition. The author's own questions poses for us the problem: What is literature sufficient for? Can we actually read/hear literature without trying to recollect the original fire?
August 24, 2024
Me parece muy bello como se puede encontrar una forma de pensar en la pol铆tica, la construcci贸n del ser y la creaci贸n en medio de reflexiones profundas sobre las obras, las palabras y los libros. En realidad es un encuentro de muchos paradigmas que, aunque se pueden ver enredados de leer, al entenderlos resultan valiosos y generadores de muchas preguntas para pensar como estamos siendo humanos, como estamos expresando y donde est谩 el fuego que nos mantiene vivos
August 15, 2017
It took me long enough for such a slim volume. I found the first essays impressive; the latter hold visionary glimpses, but it's clear that this is an odd volume. Most concretely, it's important to see in Agamben's return to the literary and the aesthetic an intimate companion to his work across the Homo Sacer volumes which is all too frequently read as political theory.
December 27, 2017
Interesting collection of essays that loosely center around the ideas of the aesthetic and creation. I found useful connections with the work and questions taken up in "The Unspeakable Girl" and "Nymphs."
August 22, 2019
es muy bello este libro AAAAAA
April 27, 2021
En ocasiones me parece demasiado ambiguo, pero una obra sin duda apasionante.
October 6, 2023
Testo piccolo e complesso; da leggere, rileggere e metabolizzare. Al momento il mio giudizio 猫 sospeso.
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March 17, 2024Me gust贸 mucho!
October 31, 2024
鬲乇噩賲賴 賵 賵蹖乇丕爻鬲丕乇蹖 亘丿 亘賵丿.
September 16, 2021
My previous experience reading Giorgio Agamben dates to the mid-1990s when I read La Comunita che viene / The Coming Community, in a beautiful translation by Michael Hardt (University of Minnesota Press). Here, Lorenzo Chiesa's translation of the essays collected in The Fire and the Tale, while apparently very meticulous and accurate, by cleaving so closely to the original Italian sacrifice a certain fluency. But this is not a problem since Agamben's essays tend to the philological anyway, and English poetry and philosophy is completely overlooked in these essays. There's not a word on English contributions to either discipline. The focus is rather on Kabbalistic mysticism, medieval alchemy, variations on these practices, as the title makes clear. The 10 essays reflect and elaborate in detail, and with a rich array of textual references, on the mysteries surrounding man's relationship to language, together with man's exercise of creativity in the arts (understood as ars and poiesis), with a marked penchant for writing.
The essays engage with and elucidate questions such as "What is the Act of Creation?" This is the one essay which seemed familiar to me. It is a brilliant gloss of the concepts of potentiality and potency, with their inherent paradoxical reliance on the forces of impotentiality and inoperativity. Just this one essay alone is for me enough reason to highly recommend the book, but there are other lighter subjects. Such as the essay on Jesus's penchant for parables in teaching the idea of the Kingdom of God. Call it Heaven. Call it Salvation. But it's the idea of happiness in life.
Mysterium Burocraticum is another intriguing essay exploring the nexus of subjectivity, subjectivization, desubjectivization... and other everyday mystical practices. From the Book to the Screen is likewise a very rewarding study of language, I should say literature, I should say the act of writing, composing... the before and after of the book. When is a work done? What goes into the production, the decision-making processes of making a book and when is it complete? When has the creative process reached the point at which you can say, this is it. What is at stake in completion? And, on the other hand, when does a work even begin? What are the first steps? The outline? What is a draft? A verse, a version. Ethically and politically, there are many entanglements in man's relationship to the habit of writing, but also whatever other creative habits make him happy.
If The Fire and the Tale has a weakness, and it does in my opinion, it is this classical ingrained insistence on the masculine as the universal. It is all about him, he, his manhood. Agamben is completely, unabashedly Classical in this regard, so that matters of gender and gender politics appear to have absolutely no place in his thinking -- at least none that I have detected -- in any of the essays in this collection. To make matters worse, the only thinkers Agamben takes issue with are two women: Simone Weill and her protege Cristina Campo. Well, at least Agamben's is a coherent weakness. An a priori flaw.
The essays engage with and elucidate questions such as "What is the Act of Creation?" This is the one essay which seemed familiar to me. It is a brilliant gloss of the concepts of potentiality and potency, with their inherent paradoxical reliance on the forces of impotentiality and inoperativity. Just this one essay alone is for me enough reason to highly recommend the book, but there are other lighter subjects. Such as the essay on Jesus's penchant for parables in teaching the idea of the Kingdom of God. Call it Heaven. Call it Salvation. But it's the idea of happiness in life.
Mysterium Burocraticum is another intriguing essay exploring the nexus of subjectivity, subjectivization, desubjectivization... and other everyday mystical practices. From the Book to the Screen is likewise a very rewarding study of language, I should say literature, I should say the act of writing, composing... the before and after of the book. When is a work done? What goes into the production, the decision-making processes of making a book and when is it complete? When has the creative process reached the point at which you can say, this is it. What is at stake in completion? And, on the other hand, when does a work even begin? What are the first steps? The outline? What is a draft? A verse, a version. Ethically and politically, there are many entanglements in man's relationship to the habit of writing, but also whatever other creative habits make him happy.
If The Fire and the Tale has a weakness, and it does in my opinion, it is this classical ingrained insistence on the masculine as the universal. It is all about him, he, his manhood. Agamben is completely, unabashedly Classical in this regard, so that matters of gender and gender politics appear to have absolutely no place in his thinking -- at least none that I have detected -- in any of the essays in this collection. To make matters worse, the only thinkers Agamben takes issue with are two women: Simone Weill and her protege Cristina Campo. Well, at least Agamben's is a coherent weakness. An a priori flaw.
February 8, 2017
Una verdadera maravilla, una joya.
May 9, 2019
Uma pequena cole莽茫o de ensaios esparsos, mas preciosos, marcados pelo estilo e as obsess玫es do Agamben - poesia italiana, cabala, mitologia judaica, cria莽茫o art铆stica, o papel da leitura (e da impossibilidade de leitura) no mundo atual.
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