吉奥乔•阿甘本（1942- ），意大利著名哲学家，古典学家，也是当今世界上最富影响力的思想家之一。现在在威尼斯高等建筑学院、门德里西奥建筑学院、巴黎的哲学国际学院以及欧洲高等学院同时担任教职。他早年求学于罗马，后辗转于法国的莱托、英国的伦敦，并在著名的瓦堡研究所从事研究 工作。1995年，一部《神圣人：主权权力与赤裸生命》让他在世界思想界声名鹊起，迄今为止，他已经围绕“神圣人”系列出版了9部著作（其中最著名的包括《王国与荣耀》《语言的圣礼》《例外状态》《最高的贫困》《身体之用》等）。在这些著作中，阿甘本依循着福柯在法兰西学院的轨迹，探索了从古希腊以及中世纪以来，西方社会政治权力及其治理术是如何在政治生活中展开的，又是如何将我们的生命分割为政治生命和赤裸生命的。他的其他著作还包括《诗的终结》、《宁芙》、《潜能》等。

译者简介

蓝江，男，1977年出生，湖北荆州人，法学博士，现为南京大学哲学系教授、中国国外马克思主义研究会理事，主要研究方向为当代欧陆激进思想和哲学，主要著作有《马克思主义发展的多维历史轨迹》、《生命、语言和影像：阿甘本的三个维度》（即出）、《巴迪欧哲学思想导论》（即出），主要译著有阿兰•巴迪欧的《世纪》、《小万神殿》、《哲学宣言》、《第二哲学宣言》、《元政治学概述》、《存在与事件》（即出），阿甘本的《王国与荣耀：神圣人II,2》（即出），以及艾德•米勒和容•延森的《万物的追问：哲学的邀请》。

In 1900, Dutch art historians Andre Jolles and Aby Warburg constructed an experimental dialogue in which Jolles supposed he had fallen in love with the figure of a young woman in a painting: "A fantastic figure - shall I call her a servant girl, or rather a classical nymph? What is the meaning of it all - Who is the nymph? Where does she come from?" Warburg's response: "In essence she is an elemental spirit, a pagan goddess in exile," serves as the touchstone for this wide-ranging and theoretical exploration of female representation in iconography. In "Nymphs", the newest translation of Italian philosopher Giorgio Agamben's work, the author notes that academic research has lingered on the "pagan goddess," while the concept of "elemental spirit," ignored by scholars, is vital to the history of iconography. Tracing the genealogy of this idea, Agamben goes on to examine subjects as diverse as the aesthetic theories of choreographer Domineco da Piacenza, Friedrich Theodor Vischer's essay on the "symbol," Walter Benjamin's concept of the dialectic image, and the bizarre discoveries of photographer Nathan Lerner in 1972. From these investigations emerges a startlingly original exploration of the ideas of time and the image. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and "Nymphs" will engage not only the author's devoted fans in philosophy, legal theory, sociology, and literary criticism, but his growing audience among art theorists and historians as well.