Giorgio Agamben Reihenfolge der Bücher

The book delves into the foundational dichotomies of Western philosophy, specifically the distinctions between essence and existence, and possibility and actuality. It posits that these separations have shaped the Western understanding of reality, enabling advancements in science and technology. By examining how these concepts have influenced human thought and action, the author argues that the ontological framework of the West underpins its historical power, highlighting the intricate relationship between philosophical thought and practical control over reality.

Through a unique approach, the book offers an autobiographical insight into the life of philosopher Giorgio Agamben, revealing his identity through the influences of notable figures like Martin Heidegger and Walter Benjamin. Instead of a traditional narrative, it intertwines images, photographs, and objects from his creative spaces, creating a self-portrait that reflects his encounters and passions. This blend of visual and textual elements forms a distinctive auto-heterography, showcasing how others have shaped his thought and writing.

Giorgio Agambens Buch „Was ich sah, hörte, lernte ...“ präsentiert sich als einzigartiges Werk, das durch kurze Prosaminiaturen prägende Begegnungen und philosophische Reflexionen verknüpft. Es thematisiert die Grenzen des sprachlich Fassbaren und verwebt persönliche Erfahrungen mit poetischen Bildern, ohne einer normativen Philosophie zu folgen.

What is at stake in that form of inquiry which the Western philosophical tradition has called first philosophy or metaphysics? Is this an abstract, now outmoded branch of philosophy, or does it address a problem that is still of great interest – namely, the unity of Western knowledge? In fact, metaphysics is ‘first’ only in relation to the other two sciences that Aristotle called theoretical: physics and mathematics. It is the strategic sense of this ‘primacy’ that needs to be examined because what is at issue here is nothing less than the relationship of domination or subservience, conflict or harmony, between philosophy and science. The hypothesis of this book is that philosophy’s attempt to use metaphysics as a way of securing its primacy among the sciences has resulted instead in its subservience: philosophy, once handmaiden to theology (ancilla theologiae), has now become more or less consciously handmaiden to the sciences (ancilla scientiarum). So it is all the more urgent to explore the nature and limits of this primacy and subservience, as this book does through an archaeological investigation of metaphysics. This important re-reading of the Western philosophical tradition by a leading thinker will be of interest to students and scholars in philosophy, critical theory and the humanities more generally, and to anyone interested in contemporary philosophy and European thought.

Ostatnia strona książki zawiera zagadkę, nad którą powinniśmy się zastanowić. Pajacyk nie przemienił się w gruncie rzeczy w chłopca, lecz stoi – wcale nie ukryty, przeciwnie, dobrze widoczny – oparty o krzesło, a nowy chłopiec może mu się przyglądać do woli, twierdząc, że jest „śmieszny”. Obie natury – marionetkowa i ludzka, które tyle razy krzyżowały się w książce – pozostają rozdzielone, obie obecne w bliżej nieokreślonym „pokoju obok”, który, jeśli się dobrze przyjrzeć, jest warsztatem Geppetta, idealnie odpowiadającym „pokoikowi na parterze”, gdzie nastąpiło stworzenie Pinokia. Być może również chłopca – skoro ciało pajacyka pozostało nadal nietknięte – stworzył demiurg Geppetto. Emanuele Dattilo zauważył w związku z tym, że „tam, gdzie spodziewalibyśmy się metamorfozy, kolejnej przemiany pajacyka w dziecko […] mamy do czynienia z rozdziałem, separacją natur, i kawałek drewna śpi naprzeciwko dziecka, które obserwuje go z upodobaniem”. Cała niepojęta historia Pinokia ginie w egzegetycznym świetle owego niestrudzonego rozdzielania obu natur. Manganelli, który uważa wprawdzie, że Pinokio naprawdę umarł, odnotowuje je na swój sposób: „Pozostaje owa martwa i cudowna relikwia, nowe i żywe będzie musiało współistnieć ze starym i martwym. Ten metr drewna nadal będzie rzucać mu wyzwanie”.

An engaging collection of late-life reflections and quick thoughts, a book unlike any other Agamben book. What can the senses of an attentive philosopher see, hear, and learn that can, in turn, teach us about living better lives? Perhaps it's less a matter of asking what and more a matter of asking how. These latest reflections from Italy's foremost philosopher form a sort of travelogue that chronicles Giorgio Agamben's profound interior journey. Here, with unprecedented immediacy, Agamben shares his final remarks, late-life observations, and reflections about his life that flashed before his eyes. What did he see in that brief flash? What did he stay faithful to? What remains of all those places, friends, and teachers?

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.

A richly illustrated analysis from one of Europe's greatest living philosophers. In Pinocchio, Giorgio Agamben turns his keen philosopher's eye on the famous nineteenth-century novel by Carlo Collodi. To Agamben, Pinocchio's adventures are a kind of initiation into life itself. Like us, the mischievous puppet is caught between two worlds. He is faced with the alternatives of submitting to authority or of carrying on, stubbornly indulging his way of being. From Agamben's virtuoso interpretation of this classic story, we learn that we can harbor the mystery of existence only if we are not aware of it, only if we manage to cohabit with an area of non-knowledge, immemorial and very near. Richly illustrated with images from three early editions of Collodi's novel, this new volume will delight enthusiasts of both literature and philosophy.