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Статті в журналах з теми "Furio Jesi"
1
Agamben, Giorgio. "O talismã de Furio Jesi." outra travessia, no. 19 (December 22, 2015): 77. http://dx.doi.org/10.5007/2176-8552.2015n19p77.
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2
Aponiuk, Juan Cruz. "Agnoia. Del no-saber y la vida ni animal ni humana en Furio Jesi y Giorgio Agamben." Eikasía Revista de Filosofía, no. 105 (March 1, 2022): 181–210. http://dx.doi.org/10.57027/eikasia.105.168.
Повний текст джерелаАнотація:
En el siguiente artículo se propone una lectura de L’aperto: l’uomo e l’animale de Giorgio Agamben a partir de aspectos que han sido dejados de lado, como su vínculo con el resto de la obra agambeniana, la singular teorización de un mesianismo ni animal ni humano y antiespecista, su aporte a los estudios críticos animales, pero sobre todo, se trata de prestar atención al detalle, pues como señalaba Aby Warburg, el buen Dios se esconde en el detalle. El detalle que ha pasado desapercibido es el último epígrafe del libro adjudicado a Furio Jesi en el que se lee: «Esoterismo significa: articulaciones de modos de no-conocimiento». En el artículo se expone el esoterismo de Rainer Maria Rilke según Furio Jesi y cómo él resulta determinante en la filosofía agambeniana para pensar una vía de salida a la máquina antropológica.
3
Ruvitoso, Mercedes. "La máquina mitológica de Furio Jesi y la cita a Walter Benjamin." Boletim de Pesquisa NELIC 14, no. 22 (December 19, 2014): 104. http://dx.doi.org/10.5007/1984-784x.2014v14n22p104.
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4
Trombino, Carlo. "Fare ricerca al di fuori dell'accademia. Un documentario storico su Furio Jesi." HISTORIA MAGISTRA, no. 18 (September 2015): 107–16. http://dx.doi.org/10.3280/hm2015-018010.
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5
Flores, Guilherme Gontijo. "A revolta do poema." Revista Texto Poético 15, no. 26 (January 25, 2019): 120. http://dx.doi.org/10.25094/rtp.2019n26a567.
Повний текст джерелаАнотація:
Neste ensaio parto das discussões de Furio Jesi, Hannah Arendt e outros autores acerca das relações entre revolta e revolução, além do ensaio O caráter destrutivo de Walter Benjamin e de trechos de Paulo Ferraz, Alejandra Pizarnik, Paul Celan e Guimarães Rosa, para propor modos de entendermos a potência de revolta do poema para além de um engajamento político explícito.
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Grigorieva, Marina. "Two essays: on silence and the poetic paradigm in the work of Furio Jesi." KANT Social Sciences & Humanities, no. 3 (July 2020): 5–11. http://dx.doi.org/10.24923/2305-8757.2020-3.1.
Повний текст джерелаАнотація:
At the end of March 2020, Giorgio Agabmen on the website of Quodlibet publishing house in his essay "Reflections on the plague", concerning more than the events of the epidemic, but what we can understand from the reaction of people to it, the relative ease with which society has taken a set of measures that completely distort normal living conditions, including working relationships, friendship, love, religious and political beliefs. His assumption is that the forms of relationships in society, say, faith-hope-love, were touched," eaten away " by the plague long before the outbreak, and therefore lost the ability to meet the needs of themselves due to the lack of such. The problem raised by the essays "Image and silence" and "on the impossibility of saying "I": epistemological paradigms and poetic paradigms in the work of Furio yezi " actualizes the present day, reducing politics to the incredible performance of a mythological machine that creates nothing from nothing, and thereby demonstrating its own emptiness, which is reflected in language – all that it can give us and what its absence can deprive us of.
7
De Andrade, Leonardo Bento. "A mitologia de “La Catrina”: comunismo e arte na máquina de Rivera." Revista Eletrônica da ANPHLAC, no. 025 (January 26, 2019): 116–34. http://dx.doi.org/10.46752/anphlac.025.2018.3037.
Повний текст джерелаАнотація:
O presente artigo tem como objetivo discutir acerca da apropriação tomada por Diego Rivera da figura de José Guadalupe Posada. Rivera é um dos principais responsáveis por transformar Posada em um modelo de “artista popular” ao encontrar na obra do gravador, mais especificamente em suas “calaveras”, uma força capaz de suprir e justificar seus anseios por um projeto estético voltado às massas e alinhado à sua própria percepção do comunismo. O modo com que Diego Rivera constrói uma narrativa acerca de Posada em muito se aproxima do que Furio Jesi chama de “máquina mitológica”. Por máquina mitológica, Jesi pensa um mecanismo que oculta o “mito puro” enquanto produz materiais mitológicos, mitologias. Nesse contexto, a “Calavera Catrina” de Posada serviu a Rivera na medida em que o resgate da obra de Posada, décadas após sua morte, reforça um projeto de “arte popular” com supostas raízes pré-hispânicas.
8
Blackledge, Paul. "Spartakus: The Symbology of Revolt. By Furio Jesi. (London, England: Seagull Books, 2014. Pp. 182. $21.00.)." Historian 78, no. 3 (September 1, 2016): 576–77. http://dx.doi.org/10.1111/hisn.12298.
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9
Fouto, Rafael Silva. "A comunidade do não-lugar: William Morris e utopias passadas e futuras." Revista Memorare 8, no. 1 (July 21, 2021): 178. http://dx.doi.org/10.19177/memorare.v1e12021178-191.
Повний текст джерелаАнотація:
Este artigo analisa a relação de duas obras de baixa ficção científica de William Morris (1834-1896), A Dream of John Ball (1888) e News from Nowhere (1890), comparando-as com os conceitos de comunidade, imunidade, arte e revolta conforme explorados por filósofos como Jean-Luc Nancy, Roberto Esposito, Jacques Rancière e Furio Jesi. William Morris foi um socialista, designer têxtil e escritor inglês durante o período vitoriano, fundador da Socialist League na Inglaterra; os romances aqui explorados trabalham com visões oníricas de potenciais comunidades socialistas ou proto-socialistas, tanto no futuro quanto no passado, e como tais comunidades seriam aos olhos de um viajante temporal inglês do período de Morris. Com base na comparação com diversos filósofos contemporâneos, percebe-se a afinidade do autor com a perspectiva de uma comunidade que rompe com pressupostos e limites bem definidos, sendo por necessidade utópica e inspiradora.
10
Fouto, Rafael Silva. "A comunidade do não-lugar: William Morris e utopias passadas e futuras." Revista Memorare 8, no. 1 (July 21, 2021): 178. http://dx.doi.org/10.19177/memorare.v8e12021178-191.
Повний текст джерелаАнотація:
Este artigo analisa a relação de duas obras de baixa ficção científica de William Morris (1834-1896), A Dream of John Ball (1888) e News from Nowhere (1890), comparando-as com os conceitos de comunidade, imunidade, arte e revolta conforme explorados por filósofos como Jean-Luc Nancy, Roberto Esposito, Jacques Rancière e Furio Jesi. William Morris foi um socialista, designer têxtil e escritor inglês durante o período vitoriano, fundador da Socialist League na Inglaterra; os romances aqui explorados trabalham com visões oníricas de potenciais comunidades socialistas ou proto-socialistas, tanto no futuro quanto no passado, e como tais comunidades seriam aos olhos de um viajante temporal inglês do período de Morris. Com base na comparação com diversos filósofos contemporâneos, percebe-se a afinidade do autor com a perspectiva de uma comunidade que rompe com pressupostos e limites bem definidos, sendo por necessidade utópica e inspiradora.
Дисертації з теми "Furio Jesi"
1
Adami, Sofia. "Il poeta in esilio. Vampirismo e utopia in Furio Jesi." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/267043.
Повний текст джерелаАнотація:
Poetry, vampirism and utopia have been overlapping in Furio Jesi’s production since La casa incantata (1960), a fairytale written when he was nineteen narrating the nocturnal adventures of Daniele, a young child. His inspiration for the story development comes from the itinerary of Novalis’ Heinrich von Ofterdingen, ending with the transformation of the main character into a poet. At the end of the alchemic trial that is poetry, Heinrich has become the romantic Dichter, priest and shaman who embodies the Third Kingdom of the reconciliation of spirit and nature; in the same way, Daniele’s quest ends with the unveiling of a vampiric identity, who gifts him with the understanding of a magical language. By referring to the romantic utopia but at the same time conferring it monstrous features, Jesi displays the implicit danger of the alterity that German Romanticism had tried to gain back for the spirit: myth, subconscious, matter or nature that men hold within themselves as a faraway trace of their lost childhood, whose call they cannot answer – lest they fall in a pit of regressive and monstrous darkness. The uncertainty of poetry, referred to as an initiatory adventure of reason, oscillating between what is demonic and what is utopian, crosses his whole production of the Sixties and the comparison with Mann, Pavese, Jung and Kerényi, and reaches its apex in the posthumous novel L’ultima notte, where the poetic initiation turns into a relentless war between vampires and humans, metaphor of the impossibility of reuniting the opposites – life and death, past and present – in a harmonious synthesis that is not also contradiction and conflict.
After Jesi's discovery of Gershom Scholem and Jewish mysticism, the rift between men and their origin becomes the exile afflicting a world that God created erasing himself, opening up in its being the fatal wound of his remoteness. The possibility of keeping the conscience together with the abyss becomes a matter of divine justice, because only if the poet takes upon himself the split, then will the latter concern the creation, and not God, and will the shadow be sin and absence and not substance. The curse that condemns the vampire to eternally wander is the curse of a humanity that obliterates what is evil by taking upon themselves the guilt of the reason, of losing an Eden which is symbol of eternity and of a fullness of life and knowledge opposed to the profane history and reason. The contradiction between sacred and profane, between time and the eternal, brands the vampires that – albeit incognito – Jesi’s written production of the Seventies: Mann and Rilke, as well as Pascal, Kierkegaard and Rousseau and who, with them, spreads among men the utopia of an elsewhere in the only way it is possible to do so, that is by teaching them its nostalgia. Unresolved and unsettled, this contradiction is enlightened in the last essays: in an extreme – and not naïve no more – rewriting of the romantic Third Kingdom, the damned becomes the chosen, and behind the monster torn between two worlds we can finally see the Mercurius duplex, the philosopher’s stone.
2
Adami, Sofia. "Il poeta in esilio. Vampirismo e utopia in Furio Jesi." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/267043.
Повний текст джерелаАнотація:
Poetry, vampirism and utopia have been overlapping in Furio Jesi’s production since La casa incantata (1960), a fairytale written when he was nineteen narrating the nocturnal adventures of Daniele, a young child. His inspiration for the story development comes from the itinerary of Novalis’ Heinrich von Ofterdingen, ending with the transformation of the main character into a poet. At the end of the alchemic trial that is poetry, Heinrich has become the romantic Dichter, priest and shaman who embodies the Third Kingdom of the reconciliation of spirit and nature; in the same way, Daniele’s quest ends with the unveiling of a vampiric identity, who gifts him with the understanding of a magical language. By referring to the romantic utopia but at the same time conferring it monstrous features, Jesi displays the implicit danger of the alterity that German Romanticism had tried to gain back for the spirit: myth, subconscious, matter or nature that men hold within themselves as a faraway trace of their lost childhood, whose call they cannot answer – lest they fall in a pit of regressive and monstrous darkness. The uncertainty of poetry, referred to as an initiatory adventure of reason, oscillating between what is demonic and what is utopian, crosses his whole production of the Sixties and the comparison with Mann, Pavese, Jung and Kerényi, and reaches its apex in the posthumous novel L’ultima notte, where the poetic initiation turns into a relentless war between vampires and humans, metaphor of the impossibility of reuniting the opposites – life and death, past and present – in a harmonious synthesis that is not also contradiction and conflict.
After Jesi's discovery of Gershom Scholem and Jewish mysticism, the rift between men and their origin becomes the exile afflicting a world that God created erasing himself, opening up in its being the fatal wound of his remoteness. The possibility of keeping the conscience together with the abyss becomes a matter of divine justice, because only if the poet takes upon himself the split, then will the latter concern the creation, and not God, and will the shadow be sin and absence and not substance. The curse that condemns the vampire to eternally wander is the curse of a humanity that obliterates what is evil by taking upon themselves the guilt of the reason, of losing an Eden which is symbol of eternity and of a fullness of life and knowledge opposed to the profane history and reason. The contradiction between sacred and profane, between time and the eternal, brands the vampires that – albeit incognito – Jesi’s written production of the Seventies: Mann and Rilke, as well as Pascal, Kierkegaard and Rousseau and who, with them, spreads among men the utopia of an elsewhere in the only way it is possible to do so, that is by teaching them its nostalgia. Unresolved and unsettled, this contradiction is enlightened in the last essays: in an extreme – and not naïve no more – rewriting of the romantic Third Kingdom, the damned becomes the chosen, and behind the monster torn between two worlds we can finally see the Mercurius duplex, the philosopher’s stone.
3
Perin, Matteo <1975>. "Mitologie e violenza nella storia contemporanea. Una lettura di Furio Jesi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2478.
Повний текст джерелаАнотація:
Il lavoro prende ad oggetto la riflessione metodologica e le analisi elaborate da Furio Jesi (egittologo, studioso di religioni e critico letterario torinese) in relazione alla questione del mito, cercando di evidenziarne la rilevanza in sede storiografica. In particolare, l'attenzione è posta sul concetto di 'macchina mitologica', ipotesi teorica che Jesi concepisce contro ogni ipostatizzazione delle narrazioni mitologiche e come strumento in grado di decostruire le mitologie politiche elaborate nella modernità. La posizione di Jesi è resa esplicita dall'affermazione secondo cui “la mitologia è sempre mitologia del potere”. La proposta teorica dello studioso torinese è messa alla prova mostrandone la potenzialità analitica in rapporto all'antisemitismo ed in particolare all'accusa di omicidio rituale rivolta contro gli ebrei in modo rinnovato a partire dalla seconda meta dell'Ottocento; in relazione alla religione della morte e alla logica comunitaria sacrificale propria dei fascismi; infine in rapporto alle mitologie del quotidiano prodotte e consumate dalla società di massa. Lo spessore teorico della proposta di Furio Jesi sarà saggiata mettendola a confronto, su alcuni snodi teorici cruciali, con i percorsi storiografici di G.L. Mosse, M. Foucault, W. Benjamin, C. Ginzburg.
4
Tabacchini, Marco. "MARRANISMO E RIVOLTA. IL GESTO POLITICO IN QUESTIONE NELL'OPERA DI FURIO JESI." Doctoral thesis, 2016. http://hdl.handle.net/11562/939918.
Повний текст джерелаАнотація:
Il nodo problematico attorno al quale si struttura il presente lavoro è quello costituito dallo statuto teoretico del gesto nell'opera di Furio Jesi. Nella pluralità e ricchezza semantica che caratterizza un simile concetto, si è deciso di proporne una lettura che ne privilegi l'inaggirabile dimensione politico-filosofica, reperita sia nell'indagine dei gesti più genuinamente insurrezionali fino ai gesti più propriamente poetici, passando attraverso le opere di traduzione, di narrazione o di scrittura. Il presente lavoro tenta, in ogni caso, di affrontare tale nodo in una specifica maniera: qui la dimensione politica del gesto è interpretata secondo la tensione esistente tra marranismo e rivolta. La questione che anima l'intero tentativo può essere così espressa: può un gesto sfuggire dalla stessa tradizione da cui pur proviene? O in altri termini: cosa significa pensare radicalmente l'intensità politica di un gesto da un punto di vista filosofico? Nel tentativo di rispondere a simili quesiti, la tesi propone altresì un approccio critico al legame esistente tra mitologia e letteratura, in accordo con la prospettiva teoretica adottata da Jesi. Qui la dialettica tra mitologia e letteratura segue quella tra il potere della tradizione e della trasmissione - così come è esplicitato dall'ininterrotto flusso della produzione di mitologia - e il potere destituente di gesti linguistici. A fronte di ciò, si tratterà allora di analizzarne le implicazioni politiche, sviluppate lungo i cinque capitoli di una ricerca che tenta di evidenziare alcuni, cruciali nodi teoretici delle opere di Jesi.The philosophical task of the present work consists in the inquiry, in the works of Furio Jesi, of the theoretical foundations of the concept of gesture. This notion, extremely rich in meanings and nuances, can be referred to several issues: from the insurrectional gesture up to the specific poetical gesture, passing through the acts of translation, storytelling and writing. Nevertheless this work tries to develop it in a specific way: the political dimension of the gesture is here interpreted as implying the relationship between marranism and revolt. The question that sustains this work can be summarized in this way: can a gesture escape the tradition it comes from? That is to say: what does it mean to radically think the political intensity of a gesture from a philosophical point of view? The thesis provides a critical presentation of the link between mythology and literature, according to the theoretical perspective adopted by Jesi. The dialectic between mythology and literature follows the one between power of tradition and transmission – as shown in the uninterrupted flow of production of mythology – and a destituent power of linguistic gestures. The work tries to analyze those political consequences, developing its task around five chapters, through which it tries to bring into light and underline crucial theoretical knots of Jesi's works.
Книги з теми "Furio Jesi"
1
Manera, Enrico. Furio Jesi: Mito, violenza, memoria. Roma: Carocci, 2012.
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2
Furio Jesi The Suspension of Historical Time 100 Notes 100 Thoughts. Hatje Cantz Publishers, 2012.
Знайти повний текст джерелаЧастини книг з теми "Furio Jesi"
1
Rowland, Ingrid D. "5.1. Furio Jesi and the Culture of the Right." In The Making of the Humanities, edited by Rens Bod, Thijs Weststeijn, and Jaap Maat, 283–98. Amsterdam: Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048518449-019.
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2
"“Those Who Have Suffered Too Much Do Not Always Reason Well”: Primo Levi, Furio Jesi, and the 1968 Debate on Spiritual and Political Zionism." In Remembering the Holocaust in Germany, Austria, Italy and Israel, 120–42. BRILL, 2021. http://dx.doi.org/10.1163/9789004462236_010.
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