In Giorgio Agamben’s eyes, Immanuel Kant’s work is the modern philosophical harbinger of the catastrophic ‘state of exception’. By focusing on the latter’s ‘author/subject corrective’ (whereby the individual is both author and subject in relation to law), I make the connection between Agamben and Kant’s Critique of Pure Reason more apparent. In doing so, I show how Kant’s corrective instrumentalises autonomy in such a way that it compromises the validity it seeks to rationalise; it does so by separating the individual (...) from actuality, by ostracising law from political challenge, and by conflating individual and state interests. Taken together, these three undercurrents are defining features of Agamben’s ‘Homo Sacer’ series. (shrink)

This article argues that Agamben’s conception of fiction is crucial for understanding his recent works. I suggest that the key to understanding Agamben conception of fiction is to be found in a few curious remarks at the end of Language and Death. These remarks explain why the distinctions between life and death, animal life and human life, bare life and political forms of life, the outlaw and the sovereign, and the norm and the exception that continue to preoccupy Agamben are (...) all fictions. After considering Agamben’s account of these fictions and their relation to the relevant passage in Language and Death, the article explores the ways Agamben thinks the fictions that govern human action and social life might be unworked. (shrink)

ABSTRACTThis paper compares Margaret Archer’s morphogenetic critical realism and Michel Foucault’s implicit discursive realism. It argues that there is a surprisingly high degree of correspondence between the two social ontologies. Specifically, both ontologies suggest that there are three largely autonomous domains in operation: cultural, structural, and agentive. Yet, while each of these domains have a level of independence, yet they are also partially constituted by the content and form of the others. This paper discusses the potential to integrate the two (...) approaches in such a way as to overcome their respective short-comings, namely the underdevelopment of culture in Archer’s ontology, and the underdevelopment of social agency in Foucault’s ontology. (shrink)

,is article addresses the relationship between sovereignty, biopolitics and governmentality in the work of Giorgio Agamben, Judith Butler, and Michel Foucault. By unpacking Foucault’s genealogy of modern governmentality, it responds to a criticism leveled against Foucauldian accounts of power for their alleged abandonment of the traditional model of power in juridico-institutional terms in favor of an understanding of power as purely productive. ,is claim has most signi-cantly been developed by Agamben in “Homo Sacer: Sovereign Power and Bare Life”. I argue (...) that Judith Butler’s analysis of power, in particular in her essay “Inde-nite Detention”, presents a more di.erentiated account of power that registers the signi-cance of practices of sovereignty and resonates with Foucault’s lectures on “Security, Territory, Population”. (shrink)

In Giorgio Agamben’s eyes, Immanuel Kant’s work is the modern philosophical harbinger of the catastrophic ‘state of exception’. By focusing on the latter’s ‘author/subject corrective’, I make the connection between Agamben and Kant’s Critique of Pure Reason more apparent. In doing so, I show how Kant’s corrective instrumentalises autonomy in such a way that it compromises the validity it seeks to rationalise; it does so by separating the individual from actuality, by ostracising law from political challenge, and by conflating individual (...) and state interests. Taken together, these three undercurrents are defining features of Agamben’s ‘Homo Sacer’ series. (shrink)

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)