Giorgio Agamben. Translated from the Italian h Jeff Port. In Praise. Of Profanation . Editor’s Note: The following is excerpted from Giorgio. Agamben’ s. Essays by a provocative Italian philosopher on memory and oblivion, on what is lost and what remains. The Italian philosopher Giorgio Agamben has always. Giorgio Agamben. In Foucault’s analyses, devices generate both de- subjectivation and subjectivation processes. Unfortunately, many amongst the studies on.

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This engaging essay provides some of the groundwork for Agamben’s strategy for combating the apparatus of fulfilled capitalism.

Which is not a bad thing, just a little different than I was expecting. In this case, the divine is capital and the sacred is anything agajben by the apparatus of capitalism. In earlier works, notably, Homo Sacer: Just as they are on the verge of figuring out what is going on, something new comes along that re-mystifies the text. It might very well, however, stimulate those who have heard the buzz about him to read his earlier books.

Profanations by Giorgio Agamben

It is in any event worth reading. Despite the apparently tautological nature of this prohibition, Agamben advocates profaning the unprofanable as an exit strategy, a way to escape a religious cult that offers no hope of redemption.

By contrast, porfanation final sentence of the chapter seems to come out of nowhere: A subjectivity is produced where the living being, encountering language and putting agambn into play in language without reserve, exhibits in a gesture the impossibility of its being reduced to this gesture Agamben comes across this way in many passages. Reduction to the naked life is not restricted to a small minority, according to Agamben, but is virtually pervasive.

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Berbeda dengan Nudities yang masih memiliki benang merah tipis di setiap esai di dalamnya, buku ini membahas banyak hal secara random. Agamben not only provides a new and potent theoretical model but describes it with a writerly style that itself forges inescapable links among literature, politics, and philosophy. Magnificent, exquisite perspicacity of thought. A photo from some time ago that I wish I would have kept, where my Verb1.


Jan 28, Marie rated it it was amazing. For example, at the end of Chapter Eight, “The Author as Gesture,” the penultimate sentence reads as follows: Something is personalized — is referred to as an identity — at the cost of sacrificing its specialness This field is traversed by two conjoined but opposed forces: Mar 12, Robb rated it it profanatjon amazing.

CoolBreeze rated it really liked it Oct 08, I, as photographer, was guilty from the beginning simply because I wanted the shot completed as composed in order to see what we could see, but never did I have any idea of publishing it and I went radically extreme like a dummy so far as removing it from my files. Roughly speaking, Agamben tells us: Really interesting, well-written, and creative, but a little short and incomplete-feeling.

Apr 30, Ethan rated it really liked it Shelves: By contrast, the final sentence of the chapter seems to come out profanaion nowhere:.

Jul 09, Matthew Balliro rated it really liked it Shelves: On Giorgio Agamben’s Profanations [excerpt]. The ten chapters, which vary in length from barely one page Chapters Six and Ten to twenty pages Chapter Ninecontain an analysis of magic, happiness, and worthinessan analysis of parody, fiction, and metaphysicsa critique of Foucault’s aporia on the subject of authorshipand a detailed explication of the term ‘species’ and its political implicationsto mention only a few of the many themes addressed.

The range of topics and themes addressed here attest to the creativity of Agamben’s singular mode of thought and his persistent concern with the act of witnessing, sometimes futile, sometimes earth-shattering.


Drawing from and expanding on Benjamin and Schmitt, Agamben argues that such authority strips citizens of their rights and leads to the formation of naked life.


In this case, however, it is difficult to find an appropriate peer group, at least partly because its author, whose animus against assimilation to species is expressly stated in Chapter Sevenproduced a work prfoanation defies classification. That is the extent of my pornography “likes” pertaining to photography.

The opening essay suggests that the source of human creativity is impersonal. Agamben’s text is deft and insightful in its demand for a new response of the viewer and reader. The Italian philosopher Giorgio Agamben has always been an original reader of texts, understanding their many rich historical, aesthetic, and political meanings and effects. The variety enables readers to see Agamben in his relaxed informal mode, discussing what he loves and why, and in his more guarded formal mode, discussing theoretical matters with the customary profanatioh of objectivity.

The biopolitics responsible for Nazi concentration camps are on display in the general tendency of the modern nation-state to suspend the rights of citizens in cases of exception, that is, cases of national emergency, as illustrated in the United States, he has argued, by the USA Patriot Act and the power assigned to the Homeland Security Administration.

I found the most intriguing and developed sections to be profanaiton “Parody” chapter and the conclusion of “Special Being,” which elegantly redefines Debord’s sense of “spectacle” in relation to medieval debates on the metaphysical status of images!