In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation. He argues, however, that Hegel by no means proclaimed the 'death of art' (as many still imagine) but proclaimed rather the indefinite continuation of art in a 'self-annulling' mode. With astonishing breadth and originality, he probes the meaning, aesthetics, and historical consequences of that self-annulment. He argues that (...) the birth of modern aesthetics is the result of a series of schisms - such as between artist and spectator, genius and taste, and form and matter - that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. He offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger. The final chapter offers a dazzling interpretation of Dürer's Melancholia. (shrink)

In his recent book The Open: Man and Animal, Giorgio Agamben examines the relation between the essence of the human and the living in Martin Heidegger’s thought. Focusing on the treatment of this relation in Heidegger’s 1929/30 lecture course “The Fundamental Concepts of Metaphysics,” Agamben argues that the dimension of the open, which is central to Heidegger’s understanding of the human essence, can be seen as implicitly dependent upon Heidegger’s account of the essence of animality. In this essay, I argue (...) that Agamben’s reading is insufficient because it has not taken full account of the specifically temporal character of the openness proper to Heidegger’s understanding of the human essence. In conclusion, I present an alternative account of the way in which Heidegger framed his descriptions of animality in the 1929/30 lecture course as articulating the openness characteristic of human being. (shrink)

This essay is concerned with modern and postmodern theories of the sublime and with a possible theological response to them. The essay first discusses the “modern sublime” and the “postmodern sublime” , and shows how these versions of the sublime terminate in one or the other form of “pure immanence” and, hence, are not sublime in any standard sense of the term. The essay then argues, in a second part, for an aesthetic of the beautiful and the sublime based upon (...) the theological doctrine of the analogy of being as articulated in the past century by Erich Przywara, S. J. (shrink)

This volume constitutes the largest collection of writings by the Italian philosopher Giorgio Agamben hitherto published in any language and all but one appear in English for the first time. The essays consider figures in the history of philosophy (Plato, Plotinus, Spinoza, Hegel) and twentieth-century thought (Walter Benjamin, Heidegger, Derrida, Deleuze, the historian Aby Warburg, and the linguist J.-C. Milner). They also examine several central concerns of Agamben: the relation of linguistic and metaphysical categories; messianism in Islamic, Jewish, and Christian (...) theology; and the state and future of contemporary politics. Despite the diversity of the texts collected here, they show a consistent concern for a set of overriding philosophical themes concerning language, history, and potentiality. (shrink)

Agamben's vocabulary is both expansive and idiosyncratic, with words such as 'infancy', 'gesture' and 'profanation' given specific and complex meanings that can bewilder the new reader. Bringing together leading scholars in the field, including Steven DeCaroli, Justin Clemens, Claire Colebrook and Steven DeCaroli the 150 entries explain the key concepts in Agamben's work and his relationship with other thinkers, from Aristotle to Aby Warburg.