I say: “Oh, what a beautiful surrealist picture!” With quite precise awareness: this páthos, these emotions of mine do not stem from our common sense. An aesthetic judgment is founded on an immediate subjective intuition: an emotion or a free feeling of a single subject towards an object. A universal sense, possibly. Some judgments of ours in ethics and in law are no different from our perceptions in front of art. It would be the same for a hypothetical sentence of (...) the judge that concluded with these words: “I acquit Arsenio Lupin because of his magnificent handlebar moustache like that of Guy de Maupassant”. Everyone would think intuitively that it is an unfair sentence. Is there aesthetics of terror? The case that the article intends to examine is that of the famous kidnapping and murder of the Italian statesman Aldo Moro by the “Brigate Rosse” [Red Brigades] (1978). The method used here consists in studying the image of the kidnapping as iconic documentation of reality, and, above all, as an ethical-legal judgment about the terrorist crime. Moro was photographed during his kidnapping. There are at least two pictures. Both constitute an extraordinary source for a judgment on the basis of an image. In both of them, Aldo Moro is pictured in front of a Red Brigades banner during the captivity. In what sense do these pictures document an aesthetic judgment concerning the “case Moro”? The answer can be found in a remarkable iconic coincidence of these pictures with a masterpiece by Georges Rouault (Paris 1871-1958) devoted to the theme of the “Ecce Homo”. The Gospel in the “Ecce Homo” scene (John: 19, 4-5) narrates how Pontius Pilate wanted to arouse the compassion of the people with a scourging and the exposure of Jesus to the crowd. The plate under consideration is entitled “Qui ne se grime pas?” [Who does not have a painted face?] and is a key work in Rouault’s suite of prints Miserere, dated for 1923. (shrink)

According to the Christian religion, Jesus was “crucified under Pontius Pilate; he suffered death and was buried. On the third day he rose again”. I take it that this rising again—the Resurrection of Jesus, as it’s sometimes called—is, according to the Christian religion, an historical event, just like his crucifixion, death, and burial. And I would have thought that to investigate whether the Resurrection occurred, we would need to do some historical research: we would need to assess the (...) reliability of the New Testament documents and related manuscripts; we would need to look into the credibility of the witnesses to his post-mortem appearances, the empty tomb, and the like. The task looks rather daunting. But, according to David Hume, we don’t have to do anything of the kind. For no matter how strong the testimony in favor of a miracle is—indeed, even if we “suppose…that the testimony considered apart and in itself, amounts to an entire proof”—we have at our disposal a “full proof…against the existence of any miracle”. So we can avoid all that tedious historical work. We can simply use Hume’s shortcut, a proof against the existence of any miracle, and hence a proof against the Resurrection. So Hume says he has a “a decisive argument,” “an everlasting check to all kinds of superstitious delusion,” superstitious delusions like the Resurrection. There is good news and bad news in Hume’s proclamation. The good news is that he really has two arguments, not just one—or, at any rate, many scholars discern in his writings two arguments. The bad news is that neither succeeds; at any rate, try as I might, I can’t see how they do. (shrink)

This review of one in the series of the monumental primary works of Kierkegaard shows him as the champion and, as it were, an inaugurator of the phenomenological turn in both philosophy and literature. The review touches upon serious issues regarding mass culture and Christianity. The review of the eighth volume in this series was published in January 2020, and these two reviews are the first by any Indian Hindu. While discussing Kierkegaard the reviewer touches upon John Caputo's theology derived (...) from Jürgen Moltmann's concept of a weak God. There are inadvertent typos in this review. (shrink)

This review shows Agamben as reading Dante and misunderstanding the Jesus event.

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