What is at stake in literature? Can we identify the fire that our stories have lost, but that they strive, at all costs, to rediscover? And what is the philosopher's stone that writers, with the passion of alchemists, struggle to forge in their word furnaces? For Giorgio Agamben, who suggests that the parable is the secret model of all narrative, every act of creation tenaciously resists creation, thereby giving each work its strength and grace. The ten essays brought together here cover works by figures ranging from Aristotle to Paul Klee and illustrate what urgently drives Agamben's current research. As is often the case with his writings, their especial focus is the mystery of literature, of reading and writing, and of language as a laboratory for conceiving an ethico-political perspective that places us beyond sovereign power.
Situating Paul's texts in the context of early Jewish messianism, this book is part of a set of critiques devoted to the period when Judaism and Christianity were not fully distinct, placing Paul in the context of what has been called "Judaeo-Christianity." The exploration of messianism leads to the other figure discussed, Walter Benjamin.
Giorgio Agamben's Homo Sacer is one of the seminal works of political philosophy in recent decades. A twenty-year undertaking, this project is a series of interconnected investigations of staggering ambition and scope investigating the deepest foundations of every major Western institution and discourse. This single book brings together for the first time all nine volumes that make up this groundbreaking project. Each volume takes a seemingly obscure and outdated issue as its starting point—an enigmatic figure in Roman law, or medieval debates about God's management of creation, or theories about the origin of the oath—but is always guided by questions with urgent contemporary relevance. The Omnibus Homo Sacer includes: 1.Homo Sacer: Sovereign Power and Bare Life 2.1.State of Exception 2.2.Stasis: Civil War as a Political Paradigm 2.3.The Sacrament of Language: An Archeology of the Oath 2.4.The Kingdom and the Glory: For a Theological Genealogy of Economy and Glory 2.5.Opus Dei: An Archeology of Duty 3.Remnants of Auschwitz: The Witness and the Archive 4.1.The Highest Poverty: Monastic Rules and Form-of-Life 4.2.The Use of Bodies
The Italian philosopher Giorgio Agamben has always been an original reader of texts, understanding their many rich and multiple historical, aesthetic, and political meanings and effects. In Profanations, Agamben has assembled for the first time some of his most pivotal essays on photography, the novel, and film. A meditation on memory and oblivion, on what is lost and what remains, Profanations proves yet again that Agamben is one of the most provocative writers of our times. In ten essays, Agamben rethinks approaches to a series of literary and philosophical problems: the relation between genius, ego, and theories of subjectivity; the problem of messianic time as explicated in both images and lived experience; parody as a literary paradigm; the potential of magic to provide an ethical canon. The range of topics and themes addressed here attest to the very creativity of Agamben’s singular mode of thought and his persistent pursuit to grasp the act of witnessing, sometimes futile, sometimes earth-shattering — the talking cricket in Pinocchio; “helpers” in Kafka’s novels; pictorial representations of the Last Judgment, of anonymous female faces, and of Orson Wells’s infamous object of obsession Rosebud. “In Praise of Profanity,” the central essay of this small but dense book, confronts the question of profanity as the crucial political task of the moment. An act of resistance to every form of separation, the concept of profanation — as both the “return to common usage” and “sacrifice” — reorients perceptions of how power, consumption, and use interweave to produce an urgent political modality and desire: to profane the unprofanable. In short, Agamben provides not only a new and potent theoretical model but also a writerly style that itself forges inescapable links between literature, politics, and philosophy.
SONAR (Swiss Sonography Group in Arthritis and Rheuma- tism) is a musculoskeletal ultrasound expert group founded in 2008. The group has developed a semi-quantitative score for Rheumatoid Arthritis using modified OMERACT criteria for synovitis, tenosynovitis and erosions. The score in- cludes B mode and Powerdoppler mode in finger joints, wrists, elbows and knees, an erosion and tenosynovitis score and ad- ditional cartilage measurement in selected joints. 2015 we developed and introduced a semi-quantitative score for hip involvement in Spondyloarthritis and started teaching the score to rheumatologists nationwide (Sonar-Hip or CoxSo- nar Score). Since 2008 we promote musculoskeletal ultrasound (msus) in the management of RA patients to increase the role of msus in RA and to improve patient outcomes. The So- nar-group offers msus courses to improve practical skills. The scientific commitee of the Sonar-group works with and supports the SCQM (www.scqm.ch) In 2018, the SONAR group has decided to focus more on the use of ultrasound in psoriatic arthritis and spondylarthitis. We have started a project concerning the implementation of a newly defined ultrasound enthesitis score in the registry. A preliminary score based on the OMERACT definition of ultra- sound elementary lesions observed in inflammatory enthesitis has been developped. The implementation process into SCQM has been finalyzed in 2019 followed by a validation study and teaching courses.
This combination of two key works by the Italian avant-garde writer Giorgio Manganelli (1922-90) is a major addition to the small number of his works available in English. In the 1960s Manganelli was a member, along with Umberto Eco and Eduardo Sanguinetti, of the Gruppo 63 movement, and a close friend of Italo Calvino, who provides an enthusiastic foreword that describes "To Those Gods Beyond" (1972) as a "heraldic bestiary" that "launches into a crescendo of variations on its main theme, the self-aggrandisement of a lucid megalomaniac." Perhaps the best known of his works included here, "An Impossible Love," comprises an epistolary exchange between Hamlet and the Princess of Cleves conducted with a "verbal catapult" as the universes about them descend into oblivion. All is overseen by gods beyond whom an endless array of other gods lie in wait, intent on torment. Everything seemingly finite or known in our world becomes infinite and unknown. The book is prefaced by Manganelli's notorious manifesto "Literature as Deception" (1967), in which he describes the "literary object" as something cynical, corrupt and devoted only to turning human suffering into exquisite figures of speech. This is a major new offering of work by this important writer, heralded by Calvino as an "erudite acrobat who twirls around the trapeze of rhetoric above the timeless void of meaning.
Nel 1986 l’editore Franco Maria Ricci sottopose allo sguardo di Giorgio Manganelli immagini disparate: tabacchiere e stemmi come celebri quadri e affreschi, vetri preziosi e fotografie, disegni e frammenti di templi. Immobile al suo tavolo di scrittore, Manganelli elaborava prosa sulla base di queste immagini, scriveva cronache di visite immaginarie come un nuovo Diderot che ci offra resoconti di sempre rinnovati "Salons". E il risultato fu una variazione trascendentale di quello stile avvolgente e onnipervasivo di cui Manganelli era maestro. Possiamo essere certi che quanto quello stile gli ha dettato non si sovrapporrà ad alcunché sia già stato detto dagli storici dell’arte o dai cultori delle varie materie. E possiamo essere certi che le sue parole si annideranno a lungo nella nostra memoria. E quando leggeremo che certi gessi rivelano «la tristezza della neve mentale» sapremo subito a chi dobbiamo questa composizione verbale. Salons raduna articoli apparsi nel 1986 sulla rivista «FMR».
This volume contains the proceedings of the study convention held in Milan on 11 and 12 April 2003. The objective of these study days was to address the question of the powers of lordship which were exercised in the countryside of central-northern Italy between the mid fourteenth century and the end of the fifteenth century. The discussions focused on what instruments and what foundations of legitimacy these same powers had and what was their relationship with the authority of the prince and with the ordinary citizen, on the one hand, and with the community and the homines on the other. These and various other issues thrown up by the study of feudal power are the topics which emerge in the various contributions gathered in this volume, devoted principally to the Lombardy of the Visconti and the Sforza, but also to other areas of Italy.
What is at stake in literature? Can we identify the fire that our stories have lost, but that they strive, at all costs, to rediscover? And what is the philosopher's stone that writers, with the passion of alchemists, struggle to forge in their word furnaces? For Giorgio Agamben, who suggests that the parable is the secret model of all narrative, every act of creation tenaciously resists creation, thereby giving each work its strength and grace. The ten essays brought together here cover works by figures ranging from Aristotle to Paul Klee and illustrate what urgently drives Agamben's current research. As is often the case with his writings, their especial focus is the mystery of literature, of reading and writing, and of language as a laboratory for conceiving an ethico-political perspective that places us beyond sovereign power.
How do you translate Giorgio Armani into architecture? For the Armani/Ginza Tower, it was essential to project not only Giorgio Armanis creativity as a designer, but his one and only personality, recreating the atmosphere of the atelier of the Italian creative genius, as well as his aesthetic code and personal image. How do you combine the concept of luxury with restrained elegance, the concept of absolute modernity with a lasting style the Armani style? In Tokyo, for the first time ever, the entirety of his work and image is represented in a single building.
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