Papers by Francesco Agnellini
Au debut de La Part maudite, Georges Bataille declare son intention de trouver un principe econom... more Au debut de La Part maudite, Georges Bataille declare son intention de trouver un principe economique unificateur des energies qui animent l’individu, la societe et le cosmos. L’article se propose d’etudier comment la depense devient ce principe, fondateur de la pensee morale et poetique de l’auteur de l’Histoire de l’œil. Le langage devient le lieu dans lequel la negativite sans emploi trouve sa manifestation la plus aboutie, et cela permet a Bataille de partager son experience interieure.
Leçon d’économie générale: l’expérience-limite chez Bataille, Blanchot, Klossowski, 2019
G. Didi-Huberman, Quando le immagini prendono posizione. L’’occhio della storia I, a cura di F. Agnellini, Milano, Mimesis, 2018
Götzendämmerung, Crépuscules des idoles, Fall of the idols: réactions littéraires, artistiques et intellectuelles à la Seconde Guerre Mondiale, 2018
Pierre Nora a souvent mis en garde contre le danger qui se cache derrière la chute des grands réc... more Pierre Nora a souvent mis en garde contre le danger qui se cache derrière la chute des grands récits collectifs qui ont donné corps à l'Histoire: des identités communitaires particulières peuvent mener à de fortes clôtures, et le pricipe émancipateur qui les anime peut se renverser, devenant une forme d'excusion ou même un appel à a guerre. Le moment semble donc venu de prendre au sérieux les réflections de Nietzsche proposées dans "De l'utilité et de l'inconvénient de l'histoire pour la vie", où le philosophe allemand donne un avertissement contre un "excès de l'histoire", coupable de paralyser la vie et de bloquer le futur dans un présent anachronique.
Si l'Histoire est déjà finie et que désormais nous sommes dans le temps de la Mémoire, il faut éxaminer la pensée de ceux qui, comme Georges Bataille, en même temps que à la fin de l'histoire et au coeur de la Seconde Guerre Mondiale, se sont référés à Nietzsche et ont essayé d'élaborer une idée d'avenir, d'identité et de commauneté radicalement differente de celle qui auhourd'hui domine les débats contemporains, habituellement fondée sur l'accumulation d'un patrimoine mnémonique qui conduit à la fermeture, à l'isolement et à la conservation. La poésie en particullier devient pour Bataille une sorte d'extase, de dépense pour ceux qui écrivent afin d'oublier leur propre nom.
La dépense et l'excès: autour de la Part maudite de Georges Bataille, dirigé par Jacques Poirier et Christian Limousin
Au début de La Part maudite, Georges Bataille déclare son intention de trouver un principe économ... more Au début de La Part maudite, Georges Bataille déclare son intention de trouver un principe économique unificateur des énergies qui animent l’individu, la société et le cosmos. L’article se propose d’étudier comment la dépense devient ce principe, fondateur de la pensée morale et poétique de l’auteur de l’Histoire de l’œil. En effet la dépense est la pulsion anti-utilitaire qui règle le flux d’exubérance et de consomption de l’économie générale, dont l’économie restreinte, fondée sur l’utile, n’est qu’une petite partie. La communication forte est la contrepartie morale et poétique de l’économie générale : suspendue entre la volonté de s’inscrire dans l’économie solaire fondée sur le gaspillage et le désir d'exprimer la nuit qui est l’homme, l’ écriture de Bataille sera crépuscolaire, empreinte de culpabilité. Ainsi le langage devient le lieu dans lequel la négativité sans emploi trouve sa manifestation la plus aboutie, et cela permet à Bataille de partager son expérience intérieure, fondant une communauté dans laquelle les lecteurs peuvent vivre les mêmes échecs que l’auteur.
At the beginning of The Accursed Share, Georges Bataille declares the intention to find an economic principle that unifies the moving energies between the human being, the society and the cosmos. The article aims to investigate how the dépense converts into this principle, emerging as the basis of Bataille’s moral and poetical thought. Indeed, the dépense represents the drive which regulates the flow of exuberance and consummation influencing the general economy, of which the restricted economy, based on profit, is only a small part. The moral and poetical counterpart of the general economy is then strong communication: suspended between the desire to be unified to the solar economy, and at the same time to express the night that is man, Bataille reveals a literary writing which is crepuscular, guilty. The language becomes then the place where the unemployed negativity finds its most complete formulation and allows to share the inner experience, creating a community within which every reader can experience the same loss of the author.
L. Marin, Dei poteri dell’immagine, a cura di F. Agnellini, Brescia, Casa di Marrani, 2017
Polifemo, 9-10 - Miti di ieri e miti di oggi da Barthes a Maffesoli, 2015
Starting from a critique of Barthes' analysis of myth, the paper analyses the link between image,... more Starting from a critique of Barthes' analysis of myth, the paper analyses the link between image, language, meaning, and myth in Klossowski's literary works, focusing on "Le Bain de Diane". If Barthes in "Le mythe aujourd'hui" conceives myths as derivative semiological systems where meaning and language are rigidly connected, for Klossowski - through the use of a particular figure of speech, the ekphrasis - myths show the solecistic nature of language, for which the connection between language and meaning is always illusory.
Altre Modernità, 2012
La fauna come inferno della psiche: metaforfosi animali nelle interpretazioni lautréamontiane di ... more La fauna come inferno della psiche: metaforfosi animali nelle interpretazioni lautréamontiane di G. Bachelard e G. Bataille di Francesco Agnellini La Psicanalisi del fuoco si apre con una considerazione secondo la quale all'uomo basterebbe parlare di un oggetto per accampare pretese di oggettività. Ma, ci mette immediatamente in guardia Gaston Bachelard capovolgendo il punto di vista, è l'oggetto che interroghiamo a definirci più di quanto siamo noi a fare con esso. L'evidenza che l'oggetto ci presenta induce delle convinzioni che prendiamo per cognizioni spontaneamente formatesi nelle nostra mente, ma che spesso non sono altro che "confidenze sulla giovinezza del nostro spirito" (Bachelard 1984: 125). Si tratta di apparenze di sapere create da pure evidenze materiali, corrispondenze formali fra gli oggetti e le nostre idee di essi non adeguatamente analizzate, che dunque l'oggettività scientifica ha il compito di fugare una volta smentito il primo incontro con l'oggetto della nostra osservazione diretta e della nostra riflessione immediata. L'oggettività scientifica, allora, sarà il risultato di un processo dialettico tardivo, di affermazioni ed errori, di riconoscimenti e superamenti degli stessi. Ma la primitiva identificazione tra oggettività e oggettualità è, almeno al principio, sempre problematica, infatti, ogni oggettività, debitamente verificata, smentisce il primo contatto con l'oggetto. Essa deve, all'inizio, criticare ogni cosa: la sensazione, il senso comune, anche la pratica più costante, l'etimologia infine, poiché il Verbo, che è fatto per cantare e sedurre, raramente raggiunge il pensiero. Ben lungi dallo stupirsi, il pensiero oggettivo deve ironizzare. (Bachelard 1984: 125).
Translations and editings by Francesco Agnellini
Book Reviews by Francesco Agnellini
Conference Presentations by Francesco Agnellini
Ekphrasis is without a doubt one of the most present figures of speech in Pierre’s Klossowski lit... more Ekphrasis is without a doubt one of the most present figures of speech in Pierre’s Klossowski literary work, and it foreshadows the abandonment of writing for painting his famous tableaux vivantes. In fact, the author often allows the signs or gestures, represented through the ekphrasis of fake-paintings, to convey, expand or hide the meaning of his novels. In them, a number of issues left open are summarized in the representation of an act, which has the task of mediating between the ghosts of the individual and the forces of the logical-discursive language.
In my speech I would like to analyze this dual function of ekphrasis in Klossowski’s literary production, in the sense of opening and closing.
The opening is given by the technique that Klossowski calls “solecism”. In works such The Vocation suspendue, in the fresco of Notre-Dame du mariage blanc, in the paintings of the fictional-author Tonnere in La Révocation de l'Edit de Nantes, the gesture of solecism opens to a plurality of meanings: with the same gesture Lucrèce seems to dismiss and to bring near the aggressor, Tarquinio. In general, the solecism represented by the ekphrasis opens the unique meaning to polysemy: the representation doesn’t express a meaning, but it has to complicate and fragmentize it.
The concept of “unique sign” goes in the opposite direction, through the reduction of multiplicity to unity. In Roberte ce soir, it has the task of reducing the multiplicity of ghosts troubling the protagonist (which relates to the alleged infidelity of his wife) to the unique sign of the ring of marriage. In Le Baphomet, however, through the investigation of the Nietzschean semiology, the continuous representation of an act (the trial of Jacques de Molay) is reduced to the unique sign of the vicious circle, or of the eternal return. If, in the case of solecism, the unity of representation becomes a plurality of meanings, in the case of the unique sign is the opposite: through repetition, multiple representations are reduced to unity; but it is a unity without meaning, a parody.
Apps & interactive tools by Francesco Agnellini
Mobile App for discovering the so-called "Via Gallica" archaeological route.
App developed by Ar... more Mobile App for discovering the so-called "Via Gallica" archaeological route.
App developed by ArcheoFrame IULM in partnership with Soprintendenza Archeologia della Lombardia, Polo Museale della Lombardia, Civico Museo Archeologico di Milano, Museo Archeologico Paolo Giovio di Como, Civico Museo Archeologico di Bergamo and Santa Giulia - Museo della Città di Brescia/Fondazione Brescia Musei, during a research project financed by Regione Lombardia.
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Papers by Francesco Agnellini
Si l'Histoire est déjà finie et que désormais nous sommes dans le temps de la Mémoire, il faut éxaminer la pensée de ceux qui, comme Georges Bataille, en même temps que à la fin de l'histoire et au coeur de la Seconde Guerre Mondiale, se sont référés à Nietzsche et ont essayé d'élaborer une idée d'avenir, d'identité et de commauneté radicalement differente de celle qui auhourd'hui domine les débats contemporains, habituellement fondée sur l'accumulation d'un patrimoine mnémonique qui conduit à la fermeture, à l'isolement et à la conservation. La poésie en particullier devient pour Bataille une sorte d'extase, de dépense pour ceux qui écrivent afin d'oublier leur propre nom.
At the beginning of The Accursed Share, Georges Bataille declares the intention to find an economic principle that unifies the moving energies between the human being, the society and the cosmos. The article aims to investigate how the dépense converts into this principle, emerging as the basis of Bataille’s moral and poetical thought. Indeed, the dépense represents the drive which regulates the flow of exuberance and consummation influencing the general economy, of which the restricted economy, based on profit, is only a small part. The moral and poetical counterpart of the general economy is then strong communication: suspended between the desire to be unified to the solar economy, and at the same time to express the night that is man, Bataille reveals a literary writing which is crepuscular, guilty. The language becomes then the place where the unemployed negativity finds its most complete formulation and allows to share the inner experience, creating a community within which every reader can experience the same loss of the author.
Translations and editings by Francesco Agnellini
Book Reviews by Francesco Agnellini
Conference Presentations by Francesco Agnellini
In my speech I would like to analyze this dual function of ekphrasis in Klossowski’s literary production, in the sense of opening and closing.
The opening is given by the technique that Klossowski calls “solecism”. In works such The Vocation suspendue, in the fresco of Notre-Dame du mariage blanc, in the paintings of the fictional-author Tonnere in La Révocation de l'Edit de Nantes, the gesture of solecism opens to a plurality of meanings: with the same gesture Lucrèce seems to dismiss and to bring near the aggressor, Tarquinio. In general, the solecism represented by the ekphrasis opens the unique meaning to polysemy: the representation doesn’t express a meaning, but it has to complicate and fragmentize it.
The concept of “unique sign” goes in the opposite direction, through the reduction of multiplicity to unity. In Roberte ce soir, it has the task of reducing the multiplicity of ghosts troubling the protagonist (which relates to the alleged infidelity of his wife) to the unique sign of the ring of marriage. In Le Baphomet, however, through the investigation of the Nietzschean semiology, the continuous representation of an act (the trial of Jacques de Molay) is reduced to the unique sign of the vicious circle, or of the eternal return. If, in the case of solecism, the unity of representation becomes a plurality of meanings, in the case of the unique sign is the opposite: through repetition, multiple representations are reduced to unity; but it is a unity without meaning, a parody.
Apps & interactive tools by Francesco Agnellini
App developed by ArcheoFrame IULM in partnership with Soprintendenza Archeologia della Lombardia, Polo Museale della Lombardia, Civico Museo Archeologico di Milano, Museo Archeologico Paolo Giovio di Como, Civico Museo Archeologico di Bergamo and Santa Giulia - Museo della Città di Brescia/Fondazione Brescia Musei, during a research project financed by Regione Lombardia.
Si l'Histoire est déjà finie et que désormais nous sommes dans le temps de la Mémoire, il faut éxaminer la pensée de ceux qui, comme Georges Bataille, en même temps que à la fin de l'histoire et au coeur de la Seconde Guerre Mondiale, se sont référés à Nietzsche et ont essayé d'élaborer une idée d'avenir, d'identité et de commauneté radicalement differente de celle qui auhourd'hui domine les débats contemporains, habituellement fondée sur l'accumulation d'un patrimoine mnémonique qui conduit à la fermeture, à l'isolement et à la conservation. La poésie en particullier devient pour Bataille une sorte d'extase, de dépense pour ceux qui écrivent afin d'oublier leur propre nom.
At the beginning of The Accursed Share, Georges Bataille declares the intention to find an economic principle that unifies the moving energies between the human being, the society and the cosmos. The article aims to investigate how the dépense converts into this principle, emerging as the basis of Bataille’s moral and poetical thought. Indeed, the dépense represents the drive which regulates the flow of exuberance and consummation influencing the general economy, of which the restricted economy, based on profit, is only a small part. The moral and poetical counterpart of the general economy is then strong communication: suspended between the desire to be unified to the solar economy, and at the same time to express the night that is man, Bataille reveals a literary writing which is crepuscular, guilty. The language becomes then the place where the unemployed negativity finds its most complete formulation and allows to share the inner experience, creating a community within which every reader can experience the same loss of the author.
In my speech I would like to analyze this dual function of ekphrasis in Klossowski’s literary production, in the sense of opening and closing.
The opening is given by the technique that Klossowski calls “solecism”. In works such The Vocation suspendue, in the fresco of Notre-Dame du mariage blanc, in the paintings of the fictional-author Tonnere in La Révocation de l'Edit de Nantes, the gesture of solecism opens to a plurality of meanings: with the same gesture Lucrèce seems to dismiss and to bring near the aggressor, Tarquinio. In general, the solecism represented by the ekphrasis opens the unique meaning to polysemy: the representation doesn’t express a meaning, but it has to complicate and fragmentize it.
The concept of “unique sign” goes in the opposite direction, through the reduction of multiplicity to unity. In Roberte ce soir, it has the task of reducing the multiplicity of ghosts troubling the protagonist (which relates to the alleged infidelity of his wife) to the unique sign of the ring of marriage. In Le Baphomet, however, through the investigation of the Nietzschean semiology, the continuous representation of an act (the trial of Jacques de Molay) is reduced to the unique sign of the vicious circle, or of the eternal return. If, in the case of solecism, the unity of representation becomes a plurality of meanings, in the case of the unique sign is the opposite: through repetition, multiple representations are reduced to unity; but it is a unity without meaning, a parody.
App developed by ArcheoFrame IULM in partnership with Soprintendenza Archeologia della Lombardia, Polo Museale della Lombardia, Civico Museo Archeologico di Milano, Museo Archeologico Paolo Giovio di Como, Civico Museo Archeologico di Bergamo and Santa Giulia - Museo della Città di Brescia/Fondazione Brescia Musei, during a research project financed by Regione Lombardia.