Furio Jesi Boeken

An analysis of how a political myth is taken and treated as a metaphor that reflects how a country like Germany built its own destiny. In the decades before the rise of the Third Reich, "Secret Germany" was a phrase used by the circle of writers around the poet Stefan George to describe a collective political and poetic project: the introduction of the highest values of art into everyday life, the secularization of myth and the mythologization of history. In this book, Furio Jesi takes up the term in order to trace the contours of that political, artistic, and aesthetic thread as it runs through German literary and artistic culture in the period--which, in the 1930s, became absorbed by Nazism as part of its prophecy of a triumphant future. Drawing on thinkers like Carl Jung and writers such as Thomas Mann and Rainer Maria Rilke, Jesi reveals a literary genre that was transformed, tragically, into a potent political myth.

A collection of Jesi's finest essays, ranging from his groundbreaking work on myth and politics to his reflections on time, festivity, and revolt as well as writers such as Rimbaud, Rilke, Lukacs, and Pavese.

An analysis of how a political myth is taken and treated as a metaphor that reflects how a country like Germany built its own destiny. In the decades before the rise of the Third Reich, "Secret Germany" was a phrase used by the circle of writers around the poet Stefan George to describe a collective political and poetic project: the introduction of the highest values of art into everyday life, the secularization of myth and the mythologization of history. In this book, Furio Jesi takes up the term in order to trace the contours of that political, artistic, and aesthetic thread as it runs through German literary and artistic culture in the period--which, in the 1930s, became absorbed by Nazism as part of its prophecy of a triumphant future. Drawing on thinkers like Carl Jung and writers such as Thomas Mann and Rainer Maria Rilke, Jesi reveals a literary genre that was transformed, tragically, into a potent political myth.

A crucial text at the intersection of history and philosophy in twentieth-century Italy. On December 29, 1918, the Spartakus League, a Marxist revolutionary movement, rose up in Germany calling for an end to class rule by the bourgeoisie. Massive demonstrations followed and more than 500,000 Berliners took to the streets in January--only to be crushed by police and anticommunist paramilitary troops. Several leaders of the Spartakus League were killed and the revolt was quashed. Through a detailed reconstruction of the events of that bloody winter, historian and critic Furio Jesi recasts our understanding of a foundational political difference--revolt or revolution? Drawing on a deep reserve of literary sources like Brecht, Eliade, Dostoyevsky, and Mann, Jesi outlines a uniquely incisive phenomenology of revolt that distinguishes between the purposeful historical temporality of revolution and the suspension of time that marks a revolt. This edition also includes an essay on the politics of time and revolution by Rosa Luxemburg, a founding leader of the Spartakus League.

Published in conjunction with the Documenta 13 exhibition in Kassel, Germany, the Documenta notebook series 100 Notes,100 Thoughts ranges from archival ephemera to conversations and commissioned essays. These notebooks express director Carolyn Christov-Bakargiev's curatorial vision for Documenta 13.

Vor vielen Jahrhunderten beherrschten die Vampire die Welt, nun leben sie im Verborgenen, in geheimen Kammern und unterirdischen Gängen. Bis sie eines Nachts das Zeichen ihres Herrn am Himmel erkennen, ein loderndes Flammenschwert, das ein neues Zeitalter ankündigt. In rasender Geschwindigkeit erobern die Vampire die Erde zurück, die Menschen müssen zusehen, wie ihre Städte verfallen und ihre Errungenschaften zerstört werden. Die Apokalypse steht bevor. Kann sich die Menschheit noch retten?

Carlos Castaneda takes the reader into the very heart of sorcery, challenging both imagination and reason, shaking the very foundations of our belief in what is "natural" and "logical."Don Juan concludes the instruction of Castaneda with his most powerful and mysterious lesson in the sorcerer's art—a dazzling series of visions that are at once an initiation and a deeply moving farewell.

Sono qui riunite tre lunghe novelle - o romanzi brevi -comunemente annoverate tra le opere migliori di Mann. In La morte a Venezia (1913) è narrata la storia di una passione senile dello scrittore Aschenbach, sullo sfondo di una Venezia equivoca e torbida in cui s'annuncia il colera: su quello sfondo morboso ed enigmatico la passione si chiarisce e si esalta, fino al crollo totale del tipico eroe manniano, travagliato dalla lotta incessante fra l'aspirazione eroica della perfezione e dell'autodisciplina e il decadentistico amore dell'irregolare e del dissoluto. Tristano è del 1903: torna, come nei Buddenbrook , la musica wagneriana a motivo conduttore di un processo di dissoluzione fisica e spirituale. Tonio Kröger , pure del 1903, è opera propriamente autobiografica. Il motivo dell'acuta nostalgia di un'adolescenza irrimediabilmente lontana, di una vita semplice e felice, vi è espresso in pagine bellissime alle quali si alternano altre mirabili pagine di critica dell'arte.

Risalente al 1972, quando Jesi era immerso nella traduzione del Matriarcato, questo saggio inedito su Bachofen - arricchito da un'appendice di note e materiali anch'essi pubblicati qui per la prima volta - si affianca, come una forza autonoma e complementare, allo scritto sullo stesso autore che Walter Benjamin aveva composto durante l'esilio parigino. Jesi riprende e spinge oltre se stesse le categorie dei mitologi reazionari, fino a leggere il nesso tra tomba e proprietà, e la paura degli antichi di restare insepolti, come «allegoria del presente borghese - del vincolo borghese fra senso della proprietà e senso della morte insito nelle "cose"».

Nel 1968, incoraggiato da un lettore come Italo Calvino, Jesi consegnava alle stampe quello che possiamo oggi ripresentare come un vero classico della letteratura saggistica. Un'idea mitologica, diceva Kerényi, somiglia al bocciolo di un fiore: capace di schiudersi e svilupparsi, racchiude anche e forma in sé un mondo. Letteratura e mito contiene non solo i primi studi jesiani su Rilke, o anticipa, nelle pagine sulla dimensione collettiva delle mitologie, il tema politico di Spartakus, ma custodisce già nel titolo l'espressione compiuta di un'inimitabile maniera compositiva. Inserendo direttamente gli «elementi mitici fra il materiale letterario», Jesi riunisce in un nucleo coeso e organico le figure di Cesare Pavese, di Novalis e Hoffmann, o di Ezra Pound, colto nel suo contegno parodico di fronte al mito; scrivendo infine il suo capolavoro, offre nel saggio sul romanzo di Apuleio la cifra abbreviata e luminosa della sua stessa opera.