The Architectural Word--Essay for Massimo Cacciari

EmanuElE sEvErino - vincEnzo vitiEllo (eds.)

Inquieto pensare Scritti in onore di Massimo Cacciari

Morcelliana

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thomas harrison

The ArchiTecTurAl Word

1. When exploring the common purposes of literature and architecture, as i will do in this paper, we might recall that most philosophers place literature at the top of their rankings of the arts and architecture near the bottom, or do not consider it at all. G.F.W. hegel is an exception. While claiming that architecture is the least theoretical of the arts, he identifies it as the historical arché – the origin – of all the others. The first formal human creations would have included «a hut as a human dwelling and a temple as an enclosure for the god and his community»1. out of architecture understood as the building of physical structures developed the other arts in sequence: the ornamentation and decoration of buildings, painting, music, and the arts of literature – until eventually all of them were superseded by the highest achievement of human expression which is conceptual philosophy. hans Georg Gadamer gives a more recent, phenomenological argument for this primordiality of architecture. Simply conceived, architecture «gives shape to space. Space is what surrounds everything that exists in space. That is why architecture embraces all the other forms of representation», establishing the very conditions of their possibility. Architecture produces the spaces for «the representational arts of poetry, music, acting and dancing»2, providing the theatre, stage and concert hall in which these other arts are practiced. Thus, if the art of building seems in its sheer materiality to be more concrete and limited in scope than these others, in truth it forges the very forms of human freedom. But Gadamer, along with his teacher heidegger, who understands humans as beings who convert earth into World, only restates what Paul Valéry had already said in Eupalinos, or The Architect (1921): namely, that architecture is a demiurgic practice, transforming the first divinity’s mountains, forests, clay, sand, and marble into tombs, temples, houses, theatres, and roads. 1 G.F.W. hegel, Aesthetics. Lectures on Fine Art, trans. M.T. Knox, clarendon Press, oxford 1975, vol. 2, p. 631. 2 h.-G. Gadamer, The Ontological Foundation of the Occasional and the Decorative, in id., Truth and Method, trans. J. Weinsheimer and d.G. Marshall, continuum, london 2004, p. 150.

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Such is the earth-World that humans inhabit, enclosing not only nature and artifice in each other, but «man in man, [...] the being in its work, and the soul in its acts and in the productions of its acts»3. Some philological evidence for the precedence of architectural over literary operations seems to lie in the metalanguage that we use to discuss literary texts. We commonly refer to the tópoi – the places – of literary texts. We call subdivisions of a poem “stanzas”, or rooms. A play in French is une pièce, also a room, suggesting that dramas carve out a precise scene of action from broader experience. St. Augustine speaks of the halls and the palaces of memory (Confessions x, 8). Books suggest “volumes”. Since Aristotle we even think of conceptual understanding along the analogy of spatial order. his De Anima speaks of the soul as a tópos eidôn, the place of forms, where ideas are configured and connected (429a). And of course Freud illustrates his thesis that nothing is ever fully lost to the psyche by imagining that it is layered like the city of rome4. Time and again thinkers conceive of intellectual relationships in spatial terms, invoking that most familiar idea of how space is ordered in form, which is architecture. 2. Numerous homologies also link the literary and the architecture al. Philippe hamon, in Expositions, littérature et architecture au 5 siècle , goes so far as to claim that the most fundamental of our rhetorical figures are rooted in architectural thinking. irony and metaphor (presenting an X in the guise of Y) both rely on the distinction between an exterior and an interior, between a façade and a hidden space behind it. Metonymy plays on contiguities, proximities and partitions, creating interaction among spaces. Synecdoche conceives things to be interlocking components of larger, more complex structures. extended literary compositions, too, have their architectonics, varying from writer to writer. Marcel Proust once planned to title different parts of his A la recherche du temps perdu with architectural terms: porch way (porche) for one part, the apse’s stained-glass windows (vitraux de l’abside) for another6. The poet Valerio Magrelli recommends that to make reading 3 P. Valéry, Eupalinos, or The Architect, trans. W. Mcc. Stewart, oxford university Press, london 1932, p. 37; see also p. 93. Massimo cacciari illumines heidegger’s affinities with Valéry in Eupalinos o l’architettura, in «Nuova corrente» 76-77(1978), pp. 422-442. 4 S. Freud, Das Unbehagen in der Kultur, Vernay, Wien 1930, ch. 1. 5 J. corti, Paris 1989. 6 See e.e. Frank, Literary Architecture. Essays Toward a Tradition. Walter Pater, Gerard Manley Hopkins, Marcel Proust, Henry James, university of california Press, Berkeley 1979, pp. 117-118.

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clear, «Bisognerebbe fare alla fine d’ogni libro [...] una planimetria delle sue parti, descrivendo le fondamenta, / i suoi accessi, le stanze, / i servizi e i disimpegni»7. A book presents entryways, halls, windows, and rooms through which one can enter, walk or gaze. engaging with a literary text means occupying spaces that are also galleries, where vectors of attention change according to whatever details strike a reader. Novels plot actions along points in a story. “Points of view” designate positions from which characters or readers take stock of a determinate, comprehensible space. Stories set people into interaction in communally shared places. Some exchanges and moods are appropriate to the bedroom, others to kitchens and parlors. An academic classroom sets up its own dynamics, as does a place of worship. other pre-understandings mark encounters on a street. literature is a dramatic architectonics, even when it hides away characters in rooms of their own – spaces that we enter when we hear of their thoughts and feelings. usually the nooks and crannies of these private spaces are sounded even more profoundly by lyric poetry than the novel. A poem at its best is like love in John donne’s famous image in the poem The Good Morrow: it «makes one little roome, an every where». Grounding these analogies and homologies is a function that literature and architecture share. Words and buildings, as heidegger has it, unfold and clarify the nature of human dwelling. if it is true that humans dwell “poetically on earth” (hölderlin), this is not because they are dreamers. it is because, through poíesis or creative fabrication, they turn space into place. Verbal articulations of wishes and fears accomplish this as much as roads and towns8. The idea of “temple” holds even more sway over human comportment than the building so named. “Neighborhood”, quartiere, has as much influence in concept as in socio-geographical fact. Buildings and words are molds for éthos, arrangements of that thinking-in-action which we call experience. So intimately tied are these two constructions that heidegger simply equates them: «language is the house of Being»9. 7 V. Magrelli, Bisognerebbe fare alla fine di ogni libro, in Poesie 1980-1992 e altre poesie, einaudi, Torino 1996, p. 68. 8 As cacciari stresses, dwelling occurs only within the communal context of human experience: «l’abitare non avviene dove si dorme e qualche volta si mangia [...] Soltanto una città può essere abitata» (M. cacciari, La città, Pazzini, rimini 2006, p. 40). 9 M. heidegger, Letter on “Humanism”, in id., Pathmarks, ed. W. McNeill, cambridge university Press, cambridge 1998, p. 239.

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To be sure, the housing operations of architecture and literature are not as self-evident today as they were to the great lover of the German provinces. our urban-intellectual spaces have undergone such radical transformation in the past two hundred years that is hard to still think of them as arenas of domestication. indeed, modernist and postmodernist art has stressed quite the contrary, ironizing at every turn the very notion of being at home in the world. Think only of Futurist and expressionist depictions of the turbulent metropolis, of Antonioni’s and de chirico’s peopleless squares (where a lone statue or child is all that suggests the possibility of habitation), of Kafka’s castles and gateways to the law, which bid the protagonist enter while remaining paradoxically impregnable. even Kafka’s windows are not inlets of scenery and light but portals of social surveillance. in the early 20th century, architecture acts most dramatically as a figure of puzzling, impenetrable, imponderable power. The Cabinet of Dr. Caligari, the paintings of rené Magritte, and the writings of surrealists stress the disorienting effect of the spaces humans themselves have created. And by the time of ouliPo (1960 ff.), narrative fiction happily joins the game, inventing self-consciously architectonic structures in order to inspect random combination, to celebrate a potentially endless workshop of human order10. in fact, if there is an overriding, architectural metaphor for the relation between humans and space in the 20th century it is probably not heidegger’s house, but Borges’ labyrinth. it had occurred to no one, writes the Argentine, «that the book and the maze were one and the same thing»11. even the master architect of the West, daedalus, is remembered not for the sumptuous residences he built on crete, but for the labyrinth. There the architectural appropriation and ordering of architectural space is turned on its head, alluding to quite different capacities of the art. out of simple space the labyrinth creates bewildering disorder, freeing design from masterable function. No, let us not insist on an equivalence between the idea of dwelling and the experience of being at home – or even its opposite, lukácsian, experience of homelessness12. 10 ouliPo’s most literally architectonic composition may be Georges Perec’s Espèces d’espaces, Galilée, Paris 1974, expanding its narrative from room to apartment to street to city and finally the universe. 11 J.l. Borges, The Garden of Forking Paths (1941), in id., Labyrinths. Selected Stories and Other Writings, ed. d.A. Yates and J.e. irby, New directions, New York 1964, p. 25. 12 on lukácsian homelessness as fundamental to the experience of dwelling, and its development in Walter Benjamin, see M. cacciari, Metafisica della gioventù, postf. a G. lukács, Diario

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let us rather reinterpret dwelling in terms that the domus, the labyrinth and literature all share. 3. Building, with whatever materials, entails coordination, connection and relation. each urban project, each street and dam, each house and apartment-complex links spaces at the same moment that it sets them apart. Architecture establishes points of contact and separation, channels and flows of direction, proximity and distance, unions and partitions. literature does the same in discursive terms, unfolding the nature of human contacts. it identifies and defines locations, elucidating the patterns of human behavior. From a perspective of naïve aesthetic realism, it may even seem that literature reformulates what is already created by the architectonics of culture and everyday life: We would first have the functional organizations of human experience and then literature supplying it with conceptual form. literature would “read” human situations and spell out the implications of modes of dwelling. There is, of course, something to this thought, as the literary arts do make an issue of the architectural, asking what types of house characters inhabit, how they utilize space, what ethical options are afforded by the cityscapes of los Angeles or Trieste, and so on. in the realist novels of the 19th century architectural structures signal sociohistorical determinism just as easily as other types of writing elevate those structures into symbols (the dome of St. Peters, Wall Street). in both cases literature stands back from the architectural in a bearing of reflection, scrutinizing the layout of our Da-sein, our being-there. Some writers believe architecture needs this clarifying conceptual treatment. italo calvino’s protagonist Marco Polo cannot in good faith chronicle the physical specificities of a city like Zaira without warning the Kublai Khan about the limitations of such an approach: «ma so già che sarebbe come non dirti nulla. Non di questo è fatta la città, ma di relazioni tra le misure del suo spazio e gli avvenimenti del suo 1910-1911, Adelphi, Milano 1983, pp. 69-148, as well as his extraordinary Il produttore malinconico, crowning his theories of the city, and standing as the introduction to W. Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica, ed. F. Valagussa, einaudi, Torino 2014, pp. v-xlvi. on the difference between dwelling and “residing” (dismissing Spengler’s distinction between living in a house and in an apartment in the metropolis) see cacciari’s Eupalinos, cit., p. 428: «All’opposto di quel che si crede e si dice volgarmente», he writes, bringing heidegger and lukács together: «il Soggetto non vive nella dimora né anela alla dimora, ma può esistere soltanto nell’assenza di casa e nella sradicatezza: qui soltanto egli può, egli è produttivo». See also the fundamental essays in cacciari’s Architecture and Nihilism. On the Philosophy of Modern Architecture, trans. S. Sartarelli, Yale university Press, New haven 1993.

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passato»13. The city in the full sense of the word is not the one we see with our eyes, but a network of behaviors to which it supplies the theatre. The city cannot speak its own present or past, Le città invisibili continues; «lo contiene come le linee d’una mano, scritto negli spigoli delle vie, nelle griglie delle finestre, negli scorrimano delle scale»14. These physical facts are mute without writerly elaboration, without a phenomenal reading. in the preceding story of Le città invisibili Polo had already distinguished between two ways of disclosing the nature of a city: material description and sentimental narration, concluding that only through the sentimental does the material open up. The implication is that architecture needs the arts of the word to “theorize” its buildings, to historicize them by way of divulging the action or life they promote or discourage. While John ruskin urged us to undertake the project of «reading a building as we would read Milton or dante»15, calvino proposes that we turn such buildings into tales. literature, on this view, would come later than buildings, but would unveil more about them than the buildings themselves. Yet nothing is necessarily natural in this relation between fact and narrative. As architects know, buildings come into being only after narrative or imaginative thinking is already in operation. hamon makes the point perhaps even too categorically: «Whereas writers start out from the building, the cadastre, the parcel [...] and then subsequently imagine the travels and the adventures of the characters, architects conceive their projects conversely. They must first think in terms of traffic, usage, schedules, routines, functions, and purposes before they erect their partitions or lay down roads»16

Form follows function, to cite carlo lodoli, via the intermediary action of the concept17. And this allows us to substitute “building” for “language” in the famous maxim of ludwig Wittgenstein: «to imagine a language means to imagine a form of life»18. indeed, the philosopher i. calvino, Le città invisibili, einaudi, Torino 1972, p. 18. Ibidem. 15 ruskin, qtd. in e.e. Frank, Literary Architecture, cit., p. 254. 16 Ph. hamon, Expositions. Literature and Architecture in Nineteenth-Century France, trans. K. Sainson-Frank and l. Maguire, university of california Press, Berkeley 1992, p. 30. 17 d. Kunze - W. Wei, The Vanity of Architecture. Topical Thinking and the Practice of Discontinuity, in M. Martin et al., Via 8. Architecture and Literature, rizzoli, New York 1986, p. 58. 18 l. Wittgenstein, Philosophical Investigations, trans. G.e.M. Anscombe, MacMillan, New York 1958, par. 19. 13 14

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had just finished illustrating the linguistic formation of life by reference to the places we build: «our language can be seen as an ancient city: a maze of little streets and squares, of old and new houses, and of houses with additions from various periods; and this surrounded by a multitude of new boroughs with straight regular streets and uniform houses»19. An image of the same ethico-theoretical “maze” recurs later in Philosophical Investigations: «language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from another side and no longer know your way about»20. engineered phenomena like basements, wells, and elevators create manners of behavior that did not exist before. The life-altering effects of architecture are clearer still in collective urban projects such as shopping malls, roadways, multiplex office buildings, parks, and suburban communities – spaces that are originally virtual, serving imagined actions and plans. Nor can one tell from the objective nature of the buildings what uses they will fulfill in the future. in time, those futureoriented projects outlive the functions for which they were designed. That is when one can engage in the calvinian operation of reading back into what once was written in «the corners of streets, in the grillworks of windows». Architecture is in many ways a greater repository of time than literature, displaying the past in hard, strong form. The Pantheon does this more dynamically than any tome in a library. We can no longer say then that architecture is a spatial and material art, while literature is a temporal and conceptual one. Both are historically and culturally extensive, emplotting our Erlebnis, and in broader ways than other arts like sculpture, music, or painting, which admittedly take up a place in the lived world, but do not ponder that place so deeply. 4. The mutual reinforcements of the purposes of both become particularly clear when architecture and literature address topics normally associated with the other. Take the phenomenon of a bridge, a structure heidegger already thought illuminating of the nature of dwelling. A poem such as the following, for example, suggests that the significance of a bridge extends far beyond strictly architectural and literary understandings into a phenomenological realm where the two cannot be clearly divided. The poem, by Giuseppe ungaretti, is called Nostalgia: 19 20

Ibi, par. 18. Ibi, par 203.

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Quando la notte è a svanire poco prima di primavera e di rado qualcuno passa

When night is on the point of vanishing a little before spring and rarely someone passes by

Su Parigi s’addensa un oscuro colore di pianto

There condenses over Paris an obscure color of weeping

in un canto di ponte contemplo l’illimitato silenzio di una ragazza tenue

in a song of the bridge i contemplate the limitless silence of a tenuous girl

le nostre malattie si fondono

our ailments fuse

e come portati via si rimane

And we remain as though carried away

ungaretti reveals the implications of this human construction by the way that he frames its space literarily. he places that liminal link between two banks of a river which is a bridge within a doubly liminal time – just before dawn and just before spring. Such a time and place, for the speaker of the poem, evokes the «limitless silence» of a girl, one neither quite present nor absent, but merely brought to mind, «contemplated». What puts the poet in a position to ponder her speechlessness is the song or the corner of a bridge (un canto / di ponte). here sounds and ideas become fused, just as the general scenario of Paris presents an «obscure color / of weeping». This association of bridge, song, and silence can partially be explained by physics. A bridge places one away from the sounds of the street, over the water, above a substance carrying those sounds further than solid matter. The heightening of acoustic experience also depends on subjective receptivity, furthered perhaps precisely by that experience of standing on a bridge, allowing one self to reach out and grip another, producing a liquefaction of the ego. The boundaries of the two subjects become as porous as the borders of the senses, tenuously connected to one another. The contact between them is so strong that their uncertain subjective natures, their ailments – le nostre malattie – run

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together: si fondono. No doubt the choice of the verb is motivated by the flowing together of the waters of the Seine. The bridge does not only join two land banks; it creates a confluence of subjects. But the most interesting effect of the confluence concludes the poem: E come portati via / si rimane. An impersonal subject remains, stays behind (si rimane), as though carried away in perpetuity. “We”, though carried away, remain together. in this image, the fixity of a bridge is united to the passing of the waters beneath it. how many conjunctions! Bridging as it does the spatial and the temporal, the perduring and the passing away, this final action turns the bridge into the site of an exceedingly unnatural paradox. Phenomenologically speaking, a bridge provides firm footing over a scene of ceaseless motion. it grants stability in a place of passing, even potentially of foundering – letting us remain as though carried away. Joined to the heightened acoustic experience of the bridge’s location is this other scenario of standing, hovering, suspended above water, on a venue of transit. is it inevitable for a person who tarries on a bridge to feel firmly and inevitably carried away? A bridge unites two “finitudes”, two banks of a river, only by traversing an aqueous infinity. To cross through the air above that water is also to pass from the finite through the infinite. (That is how the bridge, in the imagination of another writer, robert Musil, pictures art’s journey from the definite towards the indefinite, «arching away from solid ground as if it possessed a corresponding pier in the realm of the imaginary»21 a picture sketched, too, by another artistic movement of Musil’s time, by the painters of Die Brücke, gathered in dresden around ernst ludwig Kirchner). This architectonic structure links stability to something more open, something that cannot be stilled, something as naturally expansive as water or air, as potentially supernatural as a spiritual beyond. it figures an experience of space in time, inspiring the question of where we have come from and where we are going. it raises the issue of human destination – the point of arrival made visible “over there” and contingent on this unusual passage. crossing a bridge makes us sense the difference as well as the distance between the places so separated – Buda on this side, Pest on the other; europe here, Asia there, in the case of the Bosphorus. When you cross rivers and other bodies of water with a 21 r. Musil, Toward a New Aesthetic. Observations on a Dramaturgy of Film, in id., Precision and Soul. Essays and Addresses, ed. and trans. B. Pike and d.S. luft, university of chicago Press, chicago 1990, p. 208.

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boat, the journey is at least naturalized. The firm, straight bridge overcomes those material gulfs. 5. Bridges enable crossings one normally cannot make on foot. christ offered an exception, bidding his apostles to walk on the water. once he was gone, his faith stood in need of institutional support: the foundation of Peter and his heirs – those heads of the church we call pontiffs. The pontifex, pontefice, or pontiff, is a builder of bridges. The term pontifex maximus, inscribed on dozens of buildings in rome, designates the pope as the supreme builder of bridges, gifting a structure for transcending this world. if Peter guards the gateway to heaven, his successors provide the means for getting there. Before the common era the passage from mortal to infinite life was neither so obvious nor as rectilinear as this. There were entire bodies of water – between the living and the dead – that could not be bridged at all, separating populations who were not allowed reciprocal interaction. in Greek and roman paganity no single creed or method could guarantee safe passage to the afterlife. one river in particular posed such an absolute border between the living and the dead that even the olympian gods had to pronounce true oaths in its name: the river Styx, the “irremeable” Styx, as Virgil called it – irremeabilis unda (Aeneid vi, 425) – for you could cross it in only a single direction, and never come back. Navigation of the Styx, with its tributaries the Acheron, the cocytus, the Flegethon, and lethe, required the assistance of charon the ferryman, and only on the condition that he found you suitable. You rowed and he steered. This river categorically refused a bridge. And the poet T.S. eliot took huge license when he imagined hordes of the dead coming over london’s main bridge and exclaimed (in allusion to dante on the banks of the Acheron), «i had not thought death had undone so many» (The Wasteland, v. 63.). For no such bridge existed for those dead to cross. Traversing the Styx was so difficult that the feat could be accomplished only by the most powerful of mythical heroes: heracles to capture the many-headed cerberus, orpheus to reclaim eurydice, Theseus and Pirithous to attempt to abduct Persephone. But all that these adventures succeeded in doing was reaffirming the impossibility of reimplanting the dead among the living. The heroic “catabasis” remained a divine exception to the categorical division between the two realms. For all other souls, the “irremeable”, one-way crossing, from here to

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there, was ritually sealed when they drank from the waters of lethe, forgetting their worldly existence. Nothing, however, has stopped poets and dreamers from journeying from one side to the other. dante is the most celebrated. indeed, in the classical tradition, the poet is nothing less than the imaginative pontiff: the builder of spiritual bridges. realms that reason separates like rooms in a house, that nature divides with rivers and gullies, are united in symbolic and metaphorical lanmetaphérein: “carrying over”, “transporting”), through dream and art, across bridges of myth and religion, in emotional and intellectual transport. if symbols and metaphors do not follow logical, mathematical, rectilinear paths, they furnish links for new building blocks. dante’s journey to hell is built on the one undertaken by Virgil’s Aeneas. Not incidentally, perhaps, at the plutonium, or the threshold to the great river encircling the dead from which his hero starts, Virgil stresses the bridging power of literature and architecture, even to the point of speaking of one in terms of the other. At the entrance to the underworld at cumae Aeneas stops to admire and to read the tale told by a temple dedicated to Apollo (Aeneid vi, 15-40). its maker is the legendary architect daedalus, and the sculpted relief on its façade relates how and why this monument was built, “explaining”, as it were, the purpose of this art. The relief begins by recounting how daedalus was commissioned by King Minos to build a labyrinth to imprison that Minotaur to which youths from Athens were sacrificed each year – until one of them, the great hero Theseus, discovered how to escape from that maze with the help of Ariadne (instructed by daedalus himself about unraveling a spool of yarn upon entry). The king, infuriated at the treachery of his master architect, imprisoned daedalus – the relief continues – yet the sly inventor slipped away, fashioning wax wings for himself and his son icarus to fly away. But alas, on their flight to cumae his son came too close to Apollo, the sun god (too close to the divinatory ambition of poetry), found his wings melting, and fell to his death. here daedalus’ story breaks off in anguish as his grief gets the better of the sculptor’s words. The architect’s speech halts before death, affirming that division between history and transcendence that the temple itself signals. Why does Virgil fuse architecture and literature here, at this limen? The poet tells the stone’s tale in verse, ecphrastically. daedalus’ narrative serves not only to appease the great god who immolated icarus. it declares an aesthetic faith, precisely at the threshold of life and death.

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it pictures architecture itself as a construction of labyrinths, as a figure of unreadable order, not allowing for póros (passage) but rather positing aporia. By joining the forces of architecture and literature here, at the fulcrum of an unknowable, uncontrollable (metaphysical) destiny, Virgil identifies the two arts as bridges between the seen and unseen, the known and the unknown, the past, the present, and the yet to come. emitting no certain knowledge, this architectural writing serves principally to yoke two ontologically irreconcilable space-times. it discusses the past only in order to point to the impenetrable afterlife, signaling a division that cannot be bridged by reason. (Stepping beyond this temple and holding nékuia, counsel, with the unliving who see the future, Aeneas will indeed discover how to manage his present.) even the now is here split, possessing two spaces that collide in the place of the monument: the now of the spectator (including readers of the ) and the Now of Apollo. in this «enclosure for the god and his community» which is a temple (hegel), each person enters an otherworldly space22. Another time infringes upon the mortal trajectory of past and future. That is the tópos where architecture and literature come together – at a two-way gate between now and Now, and between past and future. in each seemingly simple moment, literature and architecture open experience to spaces and times beyond, bridging the differences between them. The connections they forge serve temporal and spatial transcendence.

22 cacciari recognizes the same operation of the arts in affinity: «l’opera del poeta: l’inno, [...] l’opera dell’architetto: il tempio, collegano, attraverso il fare dell’arte, il popolo [...] al dio» (Il produttore malinconico, cit., pp. vii-viii).

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sommario

Premessa di Emanuele severino e Vincenzo Vitiello

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Dialogo con Cacciari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Ontologia/Ermeneutica emanuele severino

carlo sini

Atmosfere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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félix duque

La malinconica gioia del pensare

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Tò mè òn eînai mè ón phamen . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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vincenzo vitiello

massimo donà

L’impossibile che “deve”. Trinità e katéchon: ovvero, della speranza. Nel segno di un’irragionevole fiducia . . . . . . . .

63

giulio giorello

Per tentativi e presagi. Alla ricerca del (non) essere . . . . . . . . . .

77

fabrizio desideri

Trialogus imperfectus cum muta ac velata figura

............

87

1990. Dell’Inizio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

101

francesco valagussa

nicola magliulo

Indeterminato Splendore. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

602_FestCacciari_Somm.indd 369

113

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370

Sommario

Politica/Secolarizzazione mario tronti

Un disincanto di parte

..................................

127

Sullo Stato moderno tra Schmitt e Cacciari. Con l’aiuto di Bodin e di Kant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

137

biagio de giovanni

giacomo marramao

auctoritas. La sorte dell’Europa nello spazio globale

........

151

.......... .........................

165

Oltre il mito della pena. La giustizia riparativa . . . . . . . . . . . . . .

175

roberto esposito

L’Europa di Cacciari umberto curi

Religione/Filosofia bruno forte

revelatio Dei. La struttura trinitaria della rivelazione e il rapporto tra fede e ragione . . . . . . . . . . . . . . . . . . . . . . . . . . .

189

gianni vattimo

Cristianesimo senza verità . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

203

piero coda

Dove l’uno è l’altro. Giovanni della Croce e l’accesso mistico al Deus Trinitas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

211

enzo bianchi

Pensare la vita altrimenti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

227

sergio givone

Tre ipotesi su Dio

......................................

237

francesco tomatis

Teogonia e apocatastasi in Pareyson

602_FestCacciari_Somm.indd 370

......................

247

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Sommario

371

Arte/Estetica serena nono

Disegno. El Escorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

261

claudio magris

Del blu

. . . ........................ ....................

263

thomas harrison

The Architectural Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

271

vittorio gregotti

érgon . . . . . . . . . . . . . . . . . . . . . . . . . . .

283

Anselm Kiefer e le figure dell’immemoriale . . . . . . . . . . . . . . . . .

293

federico vercellone

Filologia/Filosofia ivano dionigi

«Filologia», ovvero «pietas per la tradizione viva». . . . . . . . . . .

303

- giulio busi Schelling a Samotracia. Il sonno della filologia produce dèi . . .

309

raphael ebgi

giangiorgio pasqualotto

Saggezza e filosofia tra Oriente e Occidente . . . . . . . . . . . . . . . .

335

Bibliografia di Massimo Cacciari (1964-2014) a cura di Federico Croci e Vito Limone . . . . . . . . . . . . . . . . . . . .

351

602_FestCacciari_Somm.indd 371

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