By Roberto Esposito, Connal Parsley
The thought of the "impolitical" constructed during this quantity attracts its that means from the exhaustion of modernity's political different types, that have develop into incapable of giving voice to any really radical viewpoint. The impolitical isn't the contrary of the political yet really its outer restrict: the border from which we'd glimpse a trajectory clear of all varieties of political theology and the depoliticizing trends of a accomplished modernity.
The book's reconstruction of the impolitical lineage-which is whatever yet uniform-begins with the extraordinary conclusions reached by means of Carl Schmitt and Romano Guardini of their reflections at the political after which strikes via a chain of encounters among a number of nice twentieth-century texts: from Hannah Arendt's On Revolution to Hermann Broch's The loss of life of Virgil, to Elias Canetti's Crowds and Power; from Simone Weil's The desire for Roots to Georges Bataille's Sovereignty to Ernst Junger's An der Zeitmauer.
The path cast through this research deals a defiant counterpoint to the trendy political lexicon, yet even as a contribution to our realizing of its different types.
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Extra resources for Categories of the Impolitical (Commonalities
The central feature of this shift is that Broch assumes an ide a of the origin that regards it not only as a plurality, but also and above aIl as conflict: the irreducible conflict of power. lt is not only Hobbes who lies behind this shift, naturally, but also that "strong" triangle of thought comprised by the three most fearsome texts of 10 Introduction: An Impolitical Departure contemporary political philosophy: Benjarnin's "Critique of Violence," Freud's Totem and Taboo, and everything written by Friedrich Nietzsche.
All that remains of the idea, which is absorbed-we could say "flattened"-into the pure image of a now-absent foundation, is the mere r~ference to something transcendent beyond it that was once both the formative virtus and ultimate te/os of the political. Ulis is the vertical connection that the modern severs with its notion of decision, thus excluding any relation with what lies outside of it (except by analogy or through a metaphorical transposition). It is not that the modern is a simple proliferation of opposing interests with no desire to be united.
In this sense, too, the One remains a "theological" characterization of power: something that is coextensive with reality because it excludes every other, unrealized, possibility. This is the decisive aspect of Canetti's thought that utopian-liberatory readings lack the courage to identify: every alternative to power is engulfed by this "unicity" of the real. In Canetti's work, terms such as multiplicity, metamorphosis, or the crowd, though they appear as oppositions to the political-theological syntax of the One, are on the contrary internaI to that syntax and subsumed by it.