Nel suo celebre Principio speranza, Ernst Bloch interpreta il tema della speranza, autentico crocevia della modernitÀ, in una prospettiva di continuitÀ fra il cristianesimo ‘eretico' e il materialismo storico, nella quale il primo, per cosě dire, trae legittimitÀ dal secondo, come religione in ereditÀ. Prendendo in considerazione le teorie di Metz e Moltmann, che disegnano una ‘nuova teologia politica', si puň rintracciare in Bloch un'atipica ‘teologia politica'della speranza volta al futuro, in evidente contrasto con la (...) ‘teologia politica' di Carl Schmitt e con tutte le altre formulazioni politiche della Konservative Revolution, ‘religiosamente' volte al passato? (shrink)

In the second half of the eighteenth century, in France there was an important attempt to renew the reflection on the practices of government of society. Opposing the Colbertist mercantilism of the previous century, the physiocracy is part of this debate by introducing a new way of rationalizing the political society and its practices of government, which develops around a notion of «natural order» which prescribes full freedom for economic subjects. Thanks to the support of the “regime of truth” in (...) the economic science, Quesnay and the physiocrats would propose an innovative form of modern “governmentality”, which in their thought is called despotisme. How can the notion of “despotism” coexist with the claim of maximum liberty for economic actors? The present article intends to answer this question, investigating the relationship that Quesnay and the physiocracy entertain with the birth of liberalism. (shrink)

Within the entering in the global era, the city is come back again as a strategic architrave of the world's infrastructure – while the State, the historical figure through which Modernity was organized, has been declared in crisis long time ago. Despite the broad spectrum of urban reflections, there still is a deep lack of political theory of the city. The globalization of the city – within the pathway of the planetary urbanization – is the object of the article, that (...) elaborates on a twofold level: on one hand, a genealogical trace of that process is proposed – articulating it by distilling urban political thought from different authors and historical episodes; on the other hand, the article suggests a theoretical and methodological horizon through which to grasp the contemporary global transitions, labelled as “seeing like a city”. (shrink)

In questo saggio analizzo l’idea del mondo come coesistenza di umani e cose, e sostengo che tale coesistenza debba essere considerate sotto la lente concettuale della responsabilità. Nei primi due paragrafi sostengo che l’esperienza umana è sempre mediata da un sistema di artefatti. Nel terzo e nel quarto paragrafo sintetizzo due differenti approcci filosofici, ossia la teoria degli artefatti e il metodo materialista, i quali condividono la tesi della performatività degli artefatti nella costituzione dell’esperienza umana. Nelle conclusioni mostro (...) la rilevanza etica e politica di questa possibile ermeneutica materiale del mondo. (shrink)

In this essay we will try to analyze the thought of the philosopher Giorgio Agamben on the pandemic. The aim of the work is twofold. On the one hand, we will try to demonstrate that Agamben’s positions on the pandemic are not to be understood as mere extemporaneous statements, but as integral parts of his philosophy. On the other hand, we will try to show how these positions are based on a deeply paranoid and anti-scientific vision, since Agamben believes that (...) the effects of the epidemic have been exaggerated by the centers of power in order to create a “state of exception” that allows to crumble social life and to use the fear of poverty as a tool to dominate society. We will try to demonstrate that it is precisely starting from the critique of Agamben’s positions that it is possible to rethink a philosophy and a politic to come and a new reorganization of social and intimate relations between human beings. (shrink)

After the 1980s, the political communication and the mise en scène of politicians have become increasingly hybrid, mixing political representation with entertainment. Politicians like Silvio Berlusconi, Beppe Grillo, and even Barack Obama bring their bodies to the center of mass media political representation. They use their bodies not simply as a medium of communication but also as a source of entertainment for their audience. Before Silvio Berlusconi decided to enter politics, the former Brazilian President, Fernando Alfonso Collor de Mello, showed (...) us already in 1989, and in a very emblematic way, how the combination of politics and entertainment functions as one of the main tendencies of political communication. The analysis of his mise en scène brings this practice to the light and shows us a new phenomenon of mass media: the third body of the politician. (shrink)

Può il brusio di una voce essere anche il luogo di una lingua? E vale questa topica anche nel caso in cui la voce sia quella di uno strumento musicale? Queste domande sono alla base della indagine sulla tecnica compositiva della tintinnabulatio, inventata e sperimentata dal musicista estone Arvo Pärt . I tintinnabuli consistono di due elementi apparentemente contraddittori: la sonorità pastosa dello zvod e l’armonia della triade perfetta. Muovendo da un disco ricevuto in dono (...) e dalla interpretazione in parte inedita di un passo di san Paolo, l’autore cerca di individuare il punto di articolazione dei tintinnabuli, quella “grana” dove – come disse una volta Roland Barthes – una lingua incontra una voce. Il problema musicale sottende le interminabili discussioni trinitarie dell’Oriente cristiano – qui per sfortuna solo accennate – e si manifesta nella figura dell’iconografo medievale Andrej Rublëv, cui il regista russo Tarkovskij ha dedicato, nel 1966, un denso e ispiratissimo film. Could the rustling of a voice be also the place of a language? And does it happen all the same, when the voice at issue is that of an instrumental body? Such questions are the basic ones for any inquiry into Arvo Pärt’s tintinnabuli—the technique invented and experienced by the famous Esthonian composer . It consists of two seemingly conflicting elements: the doughy resonance of the zvot ; and the harmony of the perfect triad. The present paper moves from the personal memory of listening Pärt’s elegy Silouans Song. The delicate instrumental piece is said to conceal a prosodical calque of the voice of the famous staretz Silouan the Athonite . Silouan’s song —to use Barthes’ words—is the very place where “a language does meet a voice”. Some interpretive consequences lead off such a meeting: from a misunderstanding of a Pauline passage to the art of sacred Icons; and from the Trinitarian controversies of Byzantine church fathers to the medieval painter St.Andrej Rublëv and his most famous icon: “The Holy Trinity”. A work where—as Andrej Tarkovski has shewed in his celebrated movie of 1966—Abraham’s oak is a like a bell concealing the threefold person of God. (shrink)