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By Sergei Prozorv

Tracing how the good judgment of inoperativity works within the domain names of language, legislation, background and humanity, Agamben and Politics systematically introduces the elemental innovations of Agamben's political proposal and a significantly translates his insights within the wider context of up to date philosophy.

Agamben's commentators and critics are likely to specialize in his strong critique of the Western political culture within the Homo Sacer sequence. yet this slim concentration serves to imprecise the final constitution of Agamben's political idea, that is neither unfavorable nor severe yet affirmative. Sergei Prozorov brings out the affirmative temper of Agamben's political suggestion, concentrating on the idea that of inoperativity, which has been valuable to Agamben's paintings from his earliest writings.

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Additional resources for Agamben and Politics: A Critical Introduction (Thinking Politics)

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While we shall focus on Agamben’s understanding of redemption in detail below, we may introduce its basic logic with the help of the Bucephalus parable. The law that is studied and not applied is posited by Benjamin as a ‘gate to justice’ 22 all’s well that ends well: agamben’s comic politics (note that it is not itself justice), which in the context of the ‘New Advocate’ immediately brings to mind the ‘gates to India’ to which Bucephalus’s erstwhile master once ‘pointed the way’. The age in which Bucephalus lives is the age of exhaustion and expiry, where there is no longer anyone resembling Alexander the Great who could blaze a trail to India.

237) Play and Profanation While Agamben only began to theorise inoperativity explicitly in the 1990s, the logic designated by this concept was central to his earliest books of the late 1970s, such as Stanzas and Infancy and History, where the relation between inoperativity and glory is addressed in terms of the opposition between ritual and play. Drawing on the work of Benveniste and Lévi-Strauss, Agamben distinguishes between ritual, which fixes and structures the chronological time of the calendar through its orderly recurrence, and play, which changes and destroys it (Agamben 2007a: 77).

17). Paradigms thus obey a complex logic: insofar as they illuminate something beyond themselves, their normal denotative use must be suspended in order to enable the constitution of a new ensemble. : 21). For instance, the word ‘paradigm’ may itself be used paradigmatically as an example of an English noun, for which its own specific denotation must be suspended. : 24). This is precisely the function of the numerous paradigmatic figures that we encounter in Agamben’s works – homo sacer, the Muselmann, the porn star, Bartleby, angels – are all used in the paradigmatic manner, making intelligible the wider ensemble from which they stand out due to the suspension of their own denotation.

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