Nietzsche e l'incorporazione delle coscienze
Il pensiero di Nietzsche sottopone spesso ad indagine ciò che appare normalmente certo, evidente e resta perciò... more Il pensiero di Nietzsche sottopone spesso ad indagine ciò che appare normalmente certo, evidente e resta perciò inavvertito: è questo il caso della nozione di soggetto. Com'è venuto al mondo qualcosa come un essere soggettivo? Perché l'uomo è l'animale che dice "io"? Cosa rappresenta questa identità individuale a cui si ascrivono obblighi, capacità, aspettative pubbliche e private? Il luogo del soggetto appare a Nietzsche come un incontro e conflitto di forze molteplici, come una riconfigurazione costante di mobili equilibri di potenza. All'interno di tali dinamiche si riflette una lunga storia di incorporazioni durante la quale differenti coscienze (familiari, morali, conoscitive, linguistiche) si raccolgono e si sedimentano, sostenendo il transito della volontà di potenza ed allevando di volta in volta le proprie figure del soggetto. Il paziente lavoro di scavo della critica nietzscheana dissolve il sogno di un'immediata presenza a sé della coscienza e conduce ad ascoltare ciò che agisce nel profondo dei soggetti e continua a produrre effetti da tempo immemorabile.
The Political Theology and Ethics of Karl Barth, chapters 3 - 4 posted
My basic endeavor is to trace the lines of connection between Barth’s dogmatic theology and his political theology and... more
My basic endeavor is to trace the lines of connection between Barth’s dogmatic theology and his political theology and activity. For instance, I have tried to show the connections between his democratic socialism and his theological anthropology, between his thoughts on force and his doctrine of creation, sin and evil as das Nichtige, as well as the relation of his doctrine of the ascension and his understanding of church / state relations. In addition, I try throughout to briefly explain how Barth’s thought borrows from or differs from Augustine, Calvin, Luther, and the Anabaptist traditions, etc. I also try to win some ground for Barth’s method for moving from theology to politics, or at least I try to demonstrate that it wasn’t as opaque and obscure as most suggest.
Chapter 1, “Barth’s Actualistic Ontology as a Prelude to Politics, ” reviews criticism of Barth's political theology and ethics, and explains his actualistic ontology as the necessary background for understanding his own consistent participation in political affairs.
Chapter 2, “Barth’s Political Biography,” narrates his heavy political involvement over the years, from his days as the “red pastor” of Safenwil to his lectures on Calvin, to WW2, to his Cold War opposition to both East and West. It is interesting in its own right, it provides one concrete model of Christian attentiveness to political affairs, it establishes some credibility for Barth to speak about political things, and it confirms and illustrates his actualistic ontology.
Chapter 3, “The Theology of Christological Co-Humanity,” turns to “below” and compares Barth’s christocentric theological anthropology of co-humanity with the atomistic anthropology of the politically influential philosophies of Hobbes, Locke, Rousseau, and Nietzsche, each of whom, including Barth, move from anthropology to political structures and ethics –– a novel move in the history of political philosophy.
Chapter 4, “The Politics of Christological Co-Humanity,” shows how his theological anthropology informed various aspects of his social and political thought and action. In particular, I show how co-humanity as an organizing political principle leads Barth to, or supports Barth’s previous decision for, democratic socialism and social justice. Thus he attempts to derive a principle of civil organization from his christocentric ecclesial anthropology.
Chapter 5, “God, the Powers, and the Political Authorities,” turns to “above,” and considers how Barth’s theology of creation, the spiritual powers, and das Nichtige informed his understanding of the telos of the state as a post-lapsarian and remedial sign of God’s grace in the world that uses threat and force.
Chapter 6, “Barth’s Gelasian Parallel,” explores Barth’s understanding of the (non-political) ascension, as well as institutional “church-state” relations, the “religiously neutral” state, his use of the term “state” when he seems to mean something like “polis,” and his minimalist and christocentric version of something like “natural law” (or “faithless reason”) that, sometimes effectively and eloquently, guides those outside of the church.
Chapter 7, finally, attempts to draw out some of the strengths and weaknesses of Barth’s political theology and ethics not already mentioned, and to suggest how his thought might continue to direct and inform the church’s attempt(s) to address socio-political questions today.
Besides the Dogmatics, and his two or three major writings on political matters, I draw in material from his letters, interviews, recorded discussions, pamphlets, and other smaller essays and addresses, all in order to fill out his political theology and ethics.
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Philosophische Voraussetzungen von Deleuzes Arbeit über das Kino
MA dissertation, revised version, German
The work discusses the philosophical basis of Deleuze's cinema books, particularly Deleuze's interpretation of... more The work discusses the philosophical basis of Deleuze's cinema books, particularly Deleuze's interpretation of theories by Bergson and Nietzsche.
Der tragische Gott - Über den Begriff des Dionysischen in Nietzsches "Die Geburt der Tragödie"
Short analysis on the role of the Dionysos myth in Nietzsches work, particularly The Birth of Tragedy. First written... more Short analysis on the role of the Dionysos myth in Nietzsches work, particularly The Birth of Tragedy. First written as an essay as part of my MA in Philosophy at the University of Leipzig. Published with minor revisions.
Ruggero Vasari, L’angoscia delle macchine e altre sintesi futuriste. Con sei Interferenze grafiche di Enrico Prampolini
a cura di Maria Elena Versari
Due Punti Edizioni, novembre 2009
ISBN 9788889987308
CUT'S LAST (BUT ONE) SÉANCE
experimental drama - multimedial stage play in a form of mass; monodrama for two people, metanarrative (+2n); anti - postmodern
ABOUT CERTAIN FORMAL ASPECTS OF THE “CUT’S LAST (BUT ONE) SÉANCE” DRAMA
„Cut’s Last (But One)... more
ABOUT CERTAIN FORMAL ASPECTS OF THE “CUT’S LAST (BUT ONE) SÉANCE” DRAMA
„Cut’s Last (But One) Show” is a drama of ego – actually, it is a monodrama; still, it is written for two actors. Cut’s personality is not revealed through actions – Cut prides himself on not taking any actions (dicit et non facis – though referring to which as devil’s definition is an exaltation in a certain way). There is no conflict – but a longing for a conflict (even shown literally). A conflict between existence and aspirations of existence (their irrelevance). A certain staticality is a dramaticality here, as Pieta or the Thinker by Rodin are static.
The drama has some features of a mass.
A mass is a celebration – a celebration can be either a despair or hope.
The essence of a mass is based not only on a ceremonial but also on evoking – one evokes “deeds and conversations, impressions, thoughts, and they become symbolized. A mass is a way of sharing collective consciousness and emitting of collective consciousness. Everything that happens on the stage evokes everything what happened outside but; also and first of all, „inside”. Ceremonies evoke memory; sometimes they try to sift it, determine it more, catch it in the past and in everything that is changing; everything what „happens” is a ritual which refers to something (particularly, it concerns recollection, hope, experience, ultimate – boundary idea (of love) – it concerns absolutely). Exceeding the limits of permissible repetitiveness, we refer by a ritual to what was before an „automatism” of sensation.
Everything is a ceremony since everything is a reference.
Paradoxically, a ceremony is horrendously difficult to be played. It is also about grasping a plane – where between a blasé ritual, which is actually empty, and a pure idea (which is not fouled by it) the truth about a man is revealed. But this truth must be purified.
The „séance” is a black mass („burying” Isis little by little) and an Easter morning mass. At the end of drama some “movement” is started – a movement (a change) is earlier referred to statically – because a change is something that hurts Cut („former days were better than these”…”Say not thou that the future days would bring what they always bring” – melancholy of loss, of what is removed by a change, of what is gone) – still, a movement simultaneously means life, stillness means death. „A moment, last forever” actually means „it would be better for me to never be born”.
Written for two actors, the monodrama, the ego drama has, in an ideal prospect, another function of ceremony, ritual – forgetting about your ego.
Isis a total reference for Cut because she is: the absolute (the One, perfection), the personal God (and these are both this withdrawn one and this engaged one, immanent towards Cut and transcendent one); besides she is Isis – a mother, Isis – a wife, Isis – a feminine element, exiled Shekinah, a woman as everything what is different but also everything what is found in yourself, a neighbor (“You”, a man). What is more and first of all – she is hope for Cut to find himself.
In everything that Isis on the stage and Isis on the screen do (and in the fact of her being divided into stage and projection) there is a consequence of it (a consequence of a total reference – a word – a thought – a feeling – an impression – magic (what is mystic, what is seen). Prima facie, it might seem to have other type of consequence – a rather banal consequence: the stage – reality, the projection – Cut’s images or dreams.
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Seen by:Zarathustra a Parigi. La ricezione di Nietzsche nella cultura francese del primo Novecento
by Alice Gonzi
Aracne, Roma 2012
The main aim of this book is to examine the Nietzsche’s French early reception (from 1877 to 1930) and the cultural... more The main aim of this book is to examine the Nietzsche’s French early reception (from 1877 to 1930) and the cultural transfers between French and German intellectuals, arising from this early debate about the Nietzsche’s thought. The book describes, beyond a mere historical reconstruction, a panorama of philosophical interpretations fruitful for the further development of French philosophy in the second half of the twentieth century too. It also offers an alternative reflection on the philosophy of Nietzsche.
Will to Power as Art: Nietzsche and Heidegger on Art and the Artist-Philosopher
Master's Thesis at West Chester University, 2007
Through an aesthetic interpretation of Nietzsche’s will to power I develop a paradigm in which an understanding of... more Through an aesthetic interpretation of Nietzsche’s will to power I develop a paradigm in which an understanding of human will can be maintained, and perhaps revolutionized, within the parameters of the postmodern critique of the subject. My argument begins with the claim that reality is will to power, which is characterized by becoming. The self is then, by extension, also will to power, which in this case is characterized by self-overcoming. If the will to power and the self are characterized by becoming, then the will to power suggests a re-formulation of a notion of will without a willing subject. That which was previously conceived as metaphysical is re-conceived as aesthetic, making art the “supreme configuration” of the will to power. The Nietzschean symbol for one who embodies will to power is the artist-philosopher. The details of Nietzsche’s aesthetics I discuss lend support to my claim that the will to power as art and the archetype of the artist-philosopher represent the clearest expression of this notion of how one might understand the will to power as a re-formulation of will that takes into serious consideration the post-modern critique of the subject.
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Seen by: and 10 moreBeing in the Text: Self-Representation from Wordsworth to Roland Barthes (Cornell UP, 1984)
by Paul Jay
BEING IN THE TEXT traces the impact of changing concepts of the self and the literary subject in the formal evolution... more BEING IN THE TEXT traces the impact of changing concepts of the self and the literary subject in the formal evolution of autobiographical prose and poetry in the Romantic and modern periods. It explores parallels between the writing of autobiography and the psychoanalytic act, and address theoretical problems inherent in self-representation. Drawing on the work of philosophers and theorists including Vico, Hegel, Nietzsche, Kierkegaard, Derrida, Foucault and de Man, Jay analyzes a range of autobiographical texts including Augustine's Confessions, Wordsworth's The Prelude, Carlyle's Sartor Resartus, Joyce's Portrait of the Artist as a Young Man, Proust's A la recherche du temps perdu, The Education of Henry Adams, Paul Valery's Cahiers, Eliot's Four Quartets, and Roland Barthes par Roland Barthes.
Intensities: Philosophy, Religion and the Affirmation of Life, edited by Steven Shakespeare and Katharine Sarah Moody (Ashgate, 2012)
The aim of this volume is to break new ground in religious and philosophical thinking on the concept of life. It captures a moment in which such thinking is regaining its force and attraction for scholars – and the relevance of thought to social, cultural, political and religious dilemmas about how and why to live.
The book brings together original contributions by highly distinguished and frequently cited authors in the field of continental philosophy of religion, including John Caputo, Pamela Sue Anderson, Philip Goodchild, Nina Power and Don Cupitt. It has a strong coherence and yet also a distinctiveness based on its refusal to sit easily within either secular philosophical or theological approaches. The concept of life mobilises a thinking that crosses narrow disciplinary boundaries, whilst retaining philosophical rigour.
The book will be of interest to a broad range of scholars working in the humanities, particularly to philosophers, theologians and cultural theorists. Academics and graduate students will be a particular target audience, though undergraduates working on relevant courses and dissertations will find rich material in individual chapters. Given the nature of the topic, the collection could well also attract interest beyond the academy in a non-specialist but literate readership.
‘Is there a renunciation when truth seizes me? Certainly not, since this seizure manifests itself by unequalled... more
‘Is there a renunciation when truth seizes me? Certainly not, since this seizure manifests itself by unequalled intensities of existence. We can name them: in love, there is happiness; in science, there is joy (in Spinoza’s sense: intellectual beatitude); in politics, there is enthusiasm; and in art, there is pleasure.’ Alain Badiou, Ethics: An Essay on the Understanding of Evil (London: Verso, 2001), p. 53.
Is the affirmation or intensification of life a value in itself? What role does it play in a philosophy concerned in some sense with rationality, with truth? Can life itself be thought?
Badiou’s acknowledgement of the ‘affects of truth’ signals a complex revival of what might be called the philosophy of life. The reference he makes to Spinoza indicates a philosophical heritage stretching back through Deleuze and Guattari, Foucauldian biopolitics, vitalism, phenomenology, existentialism, Nietszchean affirmation and all the tangled attempts to comprehend life in the concept which go under the name of idealism.
The value of life has become a theme in itself: not the imposition of values upon life’s pliable surface, but life itself as an evaluative upsurge, a multiplication of differences, desires or singular truths. This is not limited to the disciples of Deleuze: the rethinking of agency and selfhood via capability for living in Ricoeur and Nussbaum demonstrates a tenacity of life unconfined by philosophical tribalism.
This collection will examine the roots and relevance of such thinking, the critical contribution which might be made by an affirmation, a politics, even a religion – of life. Life conceived as natality will be brought into conversation with questions of suffering, flesh and the resistance of life to thought. Is life more than survival? Can a thinking of life escape the temptation to domesticate its energies in the service of abstraction? Is materialism the only valid form of a philosophy of life?
Badiou himself does not admit that intensity is the only word. The subject faithful to a truth is riven, their natural state both denied and transformed. This collection will be similarly wary of naïve or one-dimensional thinking of life. The critical question of interpretation, the old question of the ‘meaning’ of life, here takes on a new incisive force. Can philosophy become, perhaps in a new way, a spiritual exercise? Can philosophy ‘live’?
The book is organised in four sections to explore the various dimensions of this question. ‘Life, Death and Natality’ examines the potential of philosophical tropes of birth and dying to impel the thinker into a fruitful engagement with life. ‘Life at the Limits of Thinking’ re-opens the difficult issue of how thought might respect what in life resists conceptualisation and calls for a different response: embodiment, boredom, aesthetics. ‘The Politics of Life’ takes up the way in which the definition and deployment of the category of life plays a key role on questions of political power. The final section, ‘Life and Spirituality,’ attempts to reclaim a philosophical thinking of spirituality, and a spiritualising of philosophy as a style of living, not merely a theoretical exercise.
Katedralen mitt i staden. Om ateism och teologi
Translated title: The Cathedral in the Middle of Town. On Atheism and Theology
An attempt to approach theological dimensions of atheistic discourses. Nietzsche becomes a central figure. Published... more An attempt to approach theological dimensions of atheistic discourses. Nietzsche becomes a central figure. Published 2010.
Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values
Kimerer LaMothe is a dancer, choreographer, and independent scholar, and taught modern western philosophy and theology for six years at Brown and Harvard.
Nietzsche uses images of dance throughout his work to represent the process and the fruits of his "revaluation of... more
Nietzsche uses images of dance throughout his work to represent the process and the fruits of his "revaluation of all values." American modern dancers Isadora Duncan and Martha Graham were inspired by his work as they created their respective visions for what dance can and should be. This book examines the relationships among these three figures, arguing that the techniques of dance practice, choreography, and performances developed by Duncan and Graham critically advance Nietzsche's revaluation of Christian values.
"LaMothe’s succulent attention to the phenomenology of dance technique draws persuasive power from beyond the writing itself. Nietzsche’s Dancers is not only a study in the recreation of religious values; it is an expression of the bodily conditions it explores. And, in this regard, the joyous engagement expressed on every page refers readers to lived practices of kinetic fluency as the basis for affirmation of life." --Journal of the American Academy of Religion
"Strangely, Christianity, the religion of the incarnation--the “Word made flesh”--has failed to develop the implications of the intimate relationship between incarnation and dance. In this fascinating and important book, LaMothe addresses Christianity’s hostility toward dance, an opposition between dance and religion reinforced by scholarship that consistently ignores one or the other. LaMothe shows that the dancers Isadora Duncan and Martha Graham responded to Nietzsche’s advocacy for a “dancing religion” by creating dances designed to “catalyze a renaissance of religion, especially Christianity.” LaMothe argues passionately for awareness of the “physiological conditions of meaning,” and the realization of an incarnation grounded in breathing and movement."--Margaret R. Miles, Emerita Professor of Historical Theology, The Graduate Theological Union, Berkeley, and author of The Word Made Flesh: A History of Christian Thought
Die Tradition einer Zukunft. Perspektiven der Religionsphilosophie
German book. Co-edited. Only cover shown here.
Bibliographical reference:
Graal-Müritz: Parerga 2011 (=Schriften der Österreichischen Gesellschaft für Religionsphilosophie, vol. 10)
Contributors: Edmund Arens, Adnan Aslan, Jameleddine Ben Abdeljelil, Artur R. Boelderl, Micha Brumlik, R. Philip Buckley, Christoph Jäger, Pantelis Kalaitzidis, Christian Kanzian, Guy van Kerckhoven, Rudolf Langthaler, Johann Maier, Otto Muck, Ilias Papagiannopoulos, Friedo Ricken, Richard Schaeffler, Hugh J. Silverman, Kristina Stöckl and Martin G. Weiß.
Henry Lawson's "Bogan" Stories edited with an introduction by David Rathbone
Now on-line in full at http://www.criticalidealism.net.au/blogfiles/Henry_Lawsons_Bogan_Stori
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