Roberto Calasso Knihy

O Kafkově díle a životě byly napsány a vydány stovky knih a tisíce studií. Všichni autoři se v nich snažili povědět něco, co ostatní neřekli, postihnout tak Kafkovu jedinečnost. Roberto Calasso, italský filozof, znalec mytologie a nakladatel, se ve své knize K. k Franzi Kafkovi postavil ne jako ten, kdo našel pravdu jeho díla, ale jako čtenář, který si při čtení srovnává svět, v němž žije, se světem, který mu předkládá kniha a její autor. Vytváří tak jedinečný obraz Kafkova světa, který tu přestává být fikcí a stává se realitou, do níž čtenář vstupuje jako jedna z Kafkových postav. V žádném jiném textu nejsme Kafkovi blíž než v Calassově knize.

Nevšední dílo, stavící na autorově bravurní znalosti řecké mytologie, je zároveň básnivě vypravěčským podáním mýtů i komentářem k nim, jakýmsi podobenstvím o nadvládě nutnosti a náhody nad lidskou existencí. Ve dvanácti kapitolách podle znamení zvířetníku či počtu olympských bohů nám Calasso předkládá různé, často i protichůdné varianty řeckých bájí a současně i cestu k jejich pochopení. V jediné knize se mu daří spojit talent vtipného vypravěče a básnický cit s učeností inteligentního badatele a lehkým perem esejisty.

'When hunting began, it was not a man who chased an animal. It was a being that chased another being. No one could say with certainty who each of them were.' Connecting Greek and Egyptian myth, the stories of poets, shamans and gods, Roberto Calasso takes us on a spellbinding voyage that traces the beginnings of our detachment from the animal world; from the landmark evolutionary moment in which humans became the hunter rather than the prey. Roaming through time and across cultures - from the Palaeolithic era to Turing's Machine - The Celestial Hunter delves into the crucible of all our stories- the source of human grief, guilt, resilience and redemption with which we have wrestled throughout history.

A splendid reimagining of key stories from the Bible, by the author of The Marriage of Cadmus and Harmony. A man named Saul is sent to search for some lost donkeys and on the way is named king of his people. The queen of a remote African realm travels for three years with her multitudinous retinue to meet the king of Jerusalem and pose him a few riddles. A man named Abraham hears a divine voice speaking words that reverberate throughout the Bible: 'Go away from your land, from your kindred and from the house of your father toward the land that I will show you'. In The Book of All Books, Roberto Calasso weaves together stories of promise and separation from one of the founding texts of Western civilisation. These tales of grace and guilt, of the chosen and the damned, cast many Biblical figures and indeed the whole book in a light as astonishing as it is disquieting. The Book of All Books is part of a larger work which began with The Ruin of Kasch (1983) and includes The Marriage of Cadmus and Harmony, Ka, and The Celestial Hunter.

Tourists, terrorists, secularists, hackers, fundamentalists, transhumanists, algorithmicians- in this book Roberto Calasso considers the tribes that inhabit and inform the world today. A world that feels more elusive than ever before. Yet once contrasted with the period between 1933 and 1945, when the world made a partially successful attempt at self-annihilation, the new millennium begins to take on an unprecedented form. What emerges is something illusory, ever-shifting and occasionally murderous- the unnamable present. This book, the ninth part of a work in progress,is a meditation on the obscure and ubiquitous process of transformation happening in societies today, where distant echoes of Auden's The Age of Anxiety give way to something altogether more unsettling.

"Throughout his masterpiece, In Search of Lost Time, Proust repeatedly refers to colours as Tiepolo Pink or Tiepolo Red. Who exactly was the artist that he so memorable transformed into colour? The eighteenth-century Venetian painter Giambattista Tiepolo spent his life executing commissions in churches, palaces and villas, creating frescoes that are among the glories of Western art. The life of an epoch swirled around him - but though his contemporaries admired him, they failed to understand him. Few have attempted to tackle Tiepolo's series of bizarre and haunting etchings, but Roberto Calasso rises to the challenge, interpreting them as chapters in a dark narrative that contains the secret of Tiepolo's art. Blooming ephebes, Oriental sages, owls, snakes- we will find them all within the pages of this book, along with Venus, Time, Moses, angels, Cleopatra and Beatrice of Burgundy - a gypsyish company always on the go. Calasso makes clear that Tiepolo was more than a dazzling intermezzo in the history of painting. Rather, he represented a particular way of meeting the challenge of form- endowed with a seemingly effortless style, Tiepolo was the last incarnation of that peculiar Italian virtue sprezzatura, the art of not seeming artful"--Publisher's description.

A beguiling new reimagining of one of the most ancient and mysterious origin myths of human civilization 'The Flood didn't come suddenly as a big surprise. It came at the end of a long, tormented story. Men just went on multiplying and the noise they made was ever more irksome . . . I remember days of desperation.' A long time ago, the gods grew tired of humans and decided to send a flood to destroy them. But Ea, the god of fresh underground water, didn't agree. He advised one of his devotees, Utnapishtim, to build a quadrangular boat to house humans and animals, and saved these living creatures from the Flood. Rather than punish Utnapishtim for his disobedience, Enlil, King of the gods, granted the mortal eternal life and banished him to the island of Dilmun. Thousands of years later, when Sinbad the Sailor is shipwrecked and arrives on that very same island, the two begin a conversation about courage, loss, salvation and sacrifice. Following Calasso's masterful retelling of ancient Greek myths in The Marriage of Cadmus and Harmony and Indic myths in Ka, this richly imaginative work delves into the crucible of our collective consciousness to reimagine the origin stories of one of the earliest human civilizations.

With Baudelaire's critical intelligence as his inspiration, the author ranges through his life and work, focusing on two painters - Ingres and Delacroix - about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay The Painter of Modern Life.

In this brilliant work, Roberto Calasso cracks the code of what Baudelaire named the Modern--the increasingly murderous period from the French Revolution to the end of World War II. From Talleyrand's France and the legendary African city of Kasch, to Lenin's Russia and the killing fields of Cambodia, Calasso leads us along an enticing maze of mythology, literature, art, and science to the pulsing heart of civilization, where he deciphers the deepest secrets of history.

This title traces the return of pagan divinities to Western literature from their first reappearance at the beginning of the modern era to their place in the literature of our own time. It seeks to deepen our understanding of our literary tradition.

'All the books published by a certain publisher could be seen as links in a single chain' In this fascinating memoir and manifesto the author and publisher Roberto Calasso meditates on the art of book publishing. With his signature erudition and polemical flair, Calasso transcends Adelphi to look at the publishing industry as a whole, from the essential importance of graphics, jackets and cover flaps to the consequences of universal digitization. And he outlines what he describes as the 'most hazardous and ambitious' profile of what a publishing house can be: a book comprising many books, akin to that of other twentieth-century publishers, from Giulio Einaudi to Roger Straus, of whom the book offers brief portraits.

Roberto Calasso narrates the birth of one of the world's great cultures: the formation of the mind of India. He doesn't explain or describe this mental world - he regenerates it through its epic cyclical stories and customs, until we no longer need to define it for ourselves because we have come to know what it is. So: Who is Ka? And who is the immense eagle asking the question, filling the sky, elephant and giant turtle dwarfed in his claws? How can he be the child of a woman? Who are the tiny folk he eats? The first impact of Ka is one of tremendous strangeness, bewilderment, disorientation. How can a Western tradition which demands to identify a beginning and an end understand one that sees no beginning and no end, but only an eternal tangle? Slowly, though, the strange becomes familiar, as new and ever more fantastic stories are spun out, gods emerge, bizarre sacrifices are performed. Rejecting our cravings to have the culture systematized and predigested for us, Calasso invites us to understand India on Indian terms, through Indian images, through India itself. As Ka unfolds, the worlds of the Devas, of Siva, Brahma and Visnu, of the wars of the Mahabharata, are splendidly revealed, until finally, with the advent of the Buddha, we are amazed at our own sense of recognition, for these stories seem to confirm, or to articulate for the first time, our own deepest perceptions about our human condition.

Roberto Calassos Essay ist in drei Kapitel gegliedert. Das dritte Kapitel, zwei Seiten lang, beschreibt einen Traum Baudelaires als Vorahnung der zusammenstürzenden Zwillingstürme (9/11). Im zweiten Kapitel, »Die Wiener Gasgesellschaft«, werden die Jahre 1933 bis 1945 behandelt. Es präsentiert Zitate deutscher und internationaler Autoren, die ihre Eindrücke von Nazi-Deutschland festgehalten haben, darunter Louis-Ferdinand Céline, André Gide und Walter Benjamin. Der Autor führt durch ein Panoptikum, in dem Naivität zunehmend dem Entsetzen weicht, und bietet Perspektiven auf Deutschland jenseits der deutschen Erinnerungskultur, basierend auf unmittelbaren Erfahrungen. Das erste Kapitel, »Touristen und Terroristen«, greift gesellschaftskritische Motive aus Calassos letztem Buch auf und schärft sie. Gesellschaft wird als Gegner von metaphysischem Rang dargestellt, gegen den nur metaphysische Waffen wirksam sind. Diese Arsenale hat die säkularisierte Gesellschaft jedoch geplündert. Die Sorge, in der Immanenz zu ersticken, prägt das »unnennbare Heute«. Alles, was auf ein Anderes, Jenseitiges verweist, hat sich in pervertierter Form dienstbar gemacht: Ritus, Theologie, Metaphysik, selbst das Denken und die Sprache. Calasso interpretiert den Terrorismus, insbesondere den heutigen islamistischen und den historischen, als ein Symptom dieser Situation. »Nichts ist wahr, alles ist erlaubt.«

Di Roberto Bazlen, universalmente noto come Bobi, non poco è stato scritto, ma il più rimane da dire e capire. Bazlen attraversò la prima parte del Novecento come un profilo di luce imprendibile. Nell’ultima fase della sua vita, fu l’ideatore di Adelphi, su cui riversò la sua sapienza, che non era solo quella – stupefacente – sui libri, ma investiva il tutto. L’idea e la fisionomia della casa editrice risalgono a lui. Quando Bazlen mi parlò per la prima volta di qualcosa che sarebbe stata Adelphi e non aveva ancora un nome mi disse: «Faremo solo i libri che ci piacciono molto».

Chi prova a dare un ordine ai propri libri deve al tempo stesso riconoscere e modificare una buona parte del suo paesaggio mentale. Impresa delicata, piena di sorprese e di scoperte, priva di soluzione. Molti l’hanno sperimentata, dal dotto seicentesco Gabriel Naudé ad Aby Warburg. Qui se ne raccontano vari episodi, mescolati a frammenti di una autobiografia involontaria. A cui fanno seguito un profilo del breve momento in cui certe riviste, fra 1920 e 1940, operavano come impollinatrici della letteratura e una cronaca dell’emblematica nascita della recensione, quando Madame de Sablé si trovò nella improba situazione di dar conto pubblicamente delle Massime del suo caro e suscettibile amico La Rochefoucauld. Finché il tema del dare ordine riappare alla fine, questa volta applicato alle librerie di oggi, per le quali è una questione vitale, che si pone ogni giorno.

„Das Buch aller Bücher“ ist der zehnte Teil von Calassos monumentalem Werk, das sich mit der Bibel, insbesondere dem Alten Testament, beschäftigt. Der Autor bietet eine nüchterne Nacherzählung biblischer Geschichten und thematisiert das Opfer, während er die Rolle der Götter in der Kulturgeschichte des Nahen Ostens würdigt.

Roberto Calasso transponiert Schrebers berühmte »Denkwürdigkeiten eines Nervenkranken« (1903), deren Wahnsystem über alle Erklärungsversuche seit Freud hinweg seine Faszination behalten hat, in einen Roman, in dem Mythos und Ironie untrennbar verschmelzen – um Schrebers geheime Geschichte ans Licht zu bringen.

Mit hundert anregenden, scharfsinnigen Klappentexten macht der Schriftsteller und Verleger Roberto Calasso den »unbekannten Leser« auf hundert Bücher seiner Wahl aufmerksam: Romane und philosophische Werke, Dramen und Gedichte.

Vor mehr als 3000 Jahren entwickelte sich in Indien eine so rätselhafte wie faszinierende Kultur. Sie hinterließ keine Kunstwerke und keine Ruinen, wir kennen nur ihren geistigen Kosmos. Die Schriften der Veden kreisen, in Hymnen, Mythen und Anweisungen für komplizierte Rituale, um die einfache und geheimnisvolle Tatsache, dass wir ein Bewusstsein haben. Dieses Bewusstsein verbindet sich für die vedischen Seher mit einer "Glut", die im Geist und in der Welt wirkt. So entstehen die Götter – und am Ende auch die Menschen. Roberto Calasso führt durch die Labyrinthe der vedischen Welt – und wenn wir sie wieder verlassen haben, sehen wir unsere heutige säkulare Welt mit neuen Augen.