A Decadence Baedeker: D’Annunzio’s The Triumph of Death

This article investigates how Gabriele D’Annunzio’s The Triumph of Death brings together Nietzsche’s ideas and Wagner’s music and interweaves them with the motifs of literary Decadence and the author’s own particular sexual politics. The novel is an experimental text striving to be a Gesemtkunstswerk, an integrated work that incorporates music, painting, poetry, regional folklore, and private thoughts about personal and national power. I discuss the novel’s themes of violent sexuality and the anxiety of powerlessness and explore their implications for the fascist political aesthetics in which D’Annunzio played a pioneering role.     

Celebrating Decadence: The Image of Abruzzo in D’Annunzio’s Trionfo della morte

Gabriele D’Annunzio (1863–1938) was one of the most peculiar figures among the European fin-de-siècle intellectuals and Italian decadentismo. Although he spent most of his life mingling with the high society of different Italian cities, D’Annunzio remained tied to the place of his birth in the remote region of Abruzzo. This article surveys D’Annunzio’s representation of Abruzzo in his 1894 novel Trionfo della morte (The Triumph of Death). The focus is on the different sources and strategies D’Annunzio used to create an image of his native region. I argue that the representation of Abruzzo as a primitive wilderness not only reflects D’Annunzio’s social critique but was also driven by purely economic concerns. By exploiting the style of other literary classics and by playing on the popular taste for the macabre, D’Annunzio, I suggest, intended to make the novel more attractive to the book market and at the same time to mystify his own personality.     

The ‘indomitable’ Pignatellis

The fall of Fascism generates contrasting feeling in Italy, now liberated by the Allied troops. In this new scenario, the search for new forms of democratic gathering coexists with its opposite: the aim to recreate an experience now historically ended (the Fascist regime). Indeed, many southern Italians still believe in Fascism and, despite Mussolini's execution in Piazzale Loreto, they kindle the hope of a new Fascist era. Arguably, they see the death of Mussolini as an opportunity to refashion the Fascist ideology, by returning to the myths of its origins. They envision a new form of Fascism, free from political contamination and compromise, and a new regime able to realize the programmes that the old regime has failed to realize. Maria and Valerio Pignatelli represent the dream of a Fascist revival, characterized by innovative and original characters. They find many supporters in the southern regions, especially in Calabria, reversing the stereotype of an ‘apolitical’ and passive south. Therefore, the aim of this article is to reconstruct the Fascist revival in post-war southern Italy through the history of its main exponents.     

Délocaliser L’esprit

The cognitive sciences have breathed fresh air into the old problem of localizing mental functions, which was often laughed off. Regarding the most philosophical form of the question on the localization of the mind, authors such as Peirce, James, Wittgenstein, and most recently Descombes have imagined delocalizing the mind in order to spread the conviction that the idea itself of a location of the mental is meaningless and to criticize the localisationism of today’s cognitive scientists.     

The vanity of dogmatizing: The three ‘versions’

This essay reevaluates the Weimar writings of Carl Schmitt and Leo Strauss, specifically, their intellectual efforts to replace the political authority of Kantian liberalism with, respectively, a ‘political theology’ and ‘Biblical atheism’ derived from the thought of early-modern state theorists like Hobbes and Spinoza. Schmitt and Strauss each insisted that post-Kantian Enlightenment rationality was unraveling into a way of thinking that violently rejected ‘form’ of any kind, fixated myopically on material things and lacked any conception of the external constraints that invariably condition the possibilities of philosophy, morality and politics. They considered Kantian reason and liberal politics to pose serious threats to ‘genuine’ expressions of rationality and as dangerous obfuscations of the necessity of political order—of the brute fact that human beings stand in need of ‘being ruled,’ as such.     

The ‘Prentice’s Bracket’ at Gloucester Cathedral

The 14th-century ‘Prentice’s bracket’ in the south transept of Gloucester cathedral has usually been thought to represent the fatal plunge of a young mason, watched by an older colleague. The implicit parallel is with Icarus and Daedalus, which suggests a moral lesson about the risks of Pride for artisans who worked at dangerous heights. However, this reading of the imagery may not be correct. In light of what is actually shown — the younger man is clearly attached to a vault — it seems more likely to represent a rescue through supernatural intervention. Numerous parallels for such rescues exist in medieval sources, particularly in the praise literature dedicated to the Virgin Mary.     

The ‘Rebalancing’ of New Caledonia’s Economy

This article assesses the impact of ‘rebalancing’ (ré-équilibrage) policies implemented in New Caledonia following the Noumea Accord in 1998. These policies were designed to redress the disadvantages of the Indigenous Kanak population (both at the political and at the socio-economic level) and to foster Kanak support for a post-Noumea Accord deal with the non-Indigenous population. It outlines the institutional framework of the Noumea Accord and its impact on development policy, exploring the structural dynamics of the New Caledonian economy and the extent of achievements in reducing inequalities. Conventional indicators demonstrate some accomplishments as regards reducing provincial inequalities but this article argues that the goals of rebalancing remain far from achieved and it explores the reasons for those shortcomings. I argue that most difficulties stem from the lack of structural reforms and absence of a shared vision of development. Nevertheless, scope does exist in New Caledonia for fostering balanced development that is environmentally and socially sustainable and better adapted to local specificities.     

Scientisme sur L’histoire D’un Concept Difficile

Today “scientism” is a pejorative concept in every language. But isn’t that just a projection made in order to exploit the fear of “science”? The article develops the argument that scientism is a historical current which can be analyzed in a concrete way. It shows that the word goes back to the 19^th century and got its negative emphasis when “scientific” spiritism on the one hand and Catholicism on the other were struggling against the “exaggerated” claims of natural science.     

The ‘Self-Positing’ Self in Kierkegaard's The Sickness unto Death

In response to the claim that Kierkegaard's highly compressed definition of the self, given near the beginning of The Sickness unto Death, should be understood in Hegelian terms, I show that it can be better understood in terms of an earlier development in the history of German idealism, namely, Fichte's theory of self-consciousness. The notion that the self “posits” itself found in this theory will be used to explain Kierkegaard's definition of the self, including his rejection of the idea that the self posits itself absolutely. I go on to show how this conception of the self relates to certain features of the concept of despair described in The Sickness unto Death. This in turn allows me to indicate some implications of this conception of the self in relation to Kierkegaard's attitude towards the social and political forces shaping the modern world.     

The Agathon Scene in Aristophanes’ Thesmophoriazusae

This article interprets Agathon's speech of self-justification in light of its dramaturgical functions within the prologue of Aristophanes’ Thesmophoriazusae. Agathon refutes Inlaw's charges of homosexual effeminacy by outlining a theory of poetic composition according to which the poet changes his nature to create in himself the qualities of his characters and plays. The speech simultaneously works against Agathon's self-justification by portraying the tragedian as an elite intellectual whose theories are only valid within his own isolation.