Giuseppe Fornari’s groundbreaking inquiry shows that Friedrich Nietzsche’s neglected importance as a religious thinker and his “untimeliness” place him at the forefront of modern thought. Capable of exploiting his own failures as a cognitive tool to discover what other philosophers never wanted to see, Nietzsche ultimately drove himself to mental collapse. Fornari analyzes the tragic reports of Nietzsche’s madness and seeks out the cause of this self-destructive destiny, which, he argues, began earlier than his rivalry with the composer and polemicist (...) Richard Wagner, dating back to the premature loss of Nietzsche’s father. Dramatic experience enabled Nietzsche to detect a more general tendency of European culture, leading to his archaeological and prophetic discovery of the death of God, which he understood as a primordial assassination from which all humankind took its origin. Fornari concludes that Nietzsche’s fatal rebellion against a Christian awareness, which he identified as the greatest threat to his plan, led him to become one and the same not only with Dionysus but also with the crucified Christ. His effort, Fornari argues, was a dramatic way to recognize the silent, inner meaning of Christ’s figure, and perhaps to be forgiven. (shrink)

125. The madman. Have you not heard of that madman who lighted a lantern at the bright sunshine of the morning, ran to the market, and began ceaselessly screaming: "I seek God! I seek God!"?This present essay is a shortened and adapted version of the first chapter of a large book of mine devoted to a comparison between ancient Greece and Christianity, shortly to be published in English by Michigan State University Press. Its theoretical core is the idea of mediation, (...) that is to say, the intangible connective element acting as a medium capable of linking humans to the world and the divine sphere that made the world possible in ancient times2. All this is related to our experience of object meant not only as a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figures of Antichrist:The Apocalypse and Its Restraints in Contemporary Political ThoughtGiuseppe Fornari (bio)1. The Antichrist and the Katéchon in Early ChristianityThe history of the Antichrist follows the history of Christ like a shadow.1 This statement is far from banal, not only because of its consequences but also because Christianity as currently presented typically denies that a figure like the Antichrist could be a cause for concern. When confronted with (...) the Antichrist, with Satan in person, the current reaction of many Christians is one of "dialogue." That this may be interpreted, in terms of the doctrine of the Antichrist, as a sign of his proximity passes unnoticed among Christians of goodwill in this day and age. But the devil is never so near as when he is denied or when, following the dictates of what is "politically correct," we start negotiating with him under names that change to suit the occasion. It is a different matter with regard to the historical phenomena that are only indirectly related to Satan, phenomena that help to hold him as far off as possible, but this eventuality can be appreciated only by those who know the devil, not by those who deny him.Some initial comments of a semantic nature are indispensable and, in virtue of the very pregnancy of the term "antichrist," they lead straight to [End Page 53] theological considerations. Antichrist is a synonym of Satan, with the difference that the functional noun "anti-christ" contains a direct indication of the relationship of Satan to Christ; it is the inevitable consequence of the conflict between Satan and Christ. That consequence can only be negation or opposition. The devil, as soon as he encounters Christ, automatically becomes "anti-," which does not imply a personal antipathy—the devil is not a person so much as the principle that parasitically destroys the person—but expresses the consequence of the demystification brought about by Christ: his mask once removed, the devil reveals his true face as Adversary, as "anti-," and the first figure against whom he directs this being "anti-" is necessarily the one who has unmasked him, that is, the Christ. The Greek prefix "anti-" in itself indicated the desire to take someone's place and, consequently, to go against that person; and it is this latter meaning that prevails in the modern prefix. Satan's intention becomes clear when we perceive the perfect convergence between the two nuances of meaning: taking Christ's place in order to go against him and going against Christ in order to take his place. Initially Satan tries out on Christ his old ploy of temptation, and this marks the start of the Son of God's public mission. The conflict is first and foremost a conflict between two functions, between two opposing logics. If Christ were to yield, he would at once fail in his mission from the Father, becoming the antichrist of himself, canceling out his own function and making the very notion of antichrist pointless. Christ does not yield, but this does not mean that his victory has been secured once and for all. He has confirmed his mission, but once this has got under way, all are called to enter into his figure, into his saving function, to become "Christ," which implies that the devil will repeat his temptation with everyone called by Christ. And as Christ is present this time, yielding to temptation marks out the person who yields as antichrist; and, since it is hard to resist temptation, there will be a growing number, not to say a multitude, of antichrists. From the start the word is revealingly characterized, structurally, by its plural form. While we do not have numerous "christs," because to follow Christ means to be as he is and to enter in to be part of him, by which act all the faithful become part of the body of Christ, which is the Church, anyone who becomes the "anti-" of Christ introduces the germ of plurality and discord, because from that moment on he is the "anti-" of the others. The antichrist introduces the poison of the "anti-" into the world, not that it was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LABYRINTHINE STRATEGIES OF SACRIFICE: THE CRETANS BY EURIPIDES Giuseppe Fornari The application of René Girard's mimetic hypothesis demands drastic re-interpretation of the history of our culture. The denunciation of sacrificial violence performed first by the Hebrew Bible and then by the Gospels figures as an objective watershed in the evaluation ofcivilizations and historical periods. This new methodological and theoretical situation brings Girard's ideas into conflict with current trends toward (...) relativism. The victim is the reality at the root ofhistory, an extra-historical element that disrupts the circle of interpretation and confronts us as an absolute value demanding our commitment one way or another. The epistemological problems thus become one and the same with a frankly religious need. In an elegant and paradoxical way Girard's thought gives new, vital emphasis to the Christocentric interpretation of human history typical of patristic and medieval thought. In this light, comparison ofour Christian Western civilization with its Classical predecessor becomes crucial. For the Middle Ages Antiquity was not separate from Christianity but itsfigura (préfiguration), in a positive or negative way. Modern culture, however, starting from humanism and the Renaissance, discovered the historical dimension of Classical civilization with ever-increasing admiration until, finally, Neoclassicism set it as the great alternative to modern civilization. This tendency became openly anti-Christian first with the French revolution and then with thinkers like Nietzsche and Heidegger. The very identity of Western culture is determined by its varying attitudes toward Classical Antiquity and Christianity, to such an extent that the different periods in history could be subdivided accordingly. The comparison is like asking ourselves 164Giuseppe Fornari what we would be without Christianity, or who we are and what Christianity is. The radical nature of these questions and the overall development of our culture therefore confirm Girard's radical, metahistorical model. Classical civilization is the inevitable touchstone for this trans-historical question of identity. The comparison is fascinating and complex, and it cannot be dismissed simply by juxtaposing victimary awareness and blindness. Girard himself in Violence and the Sacred notes the profound investigation of mimetic violence in Greek tragedy and pre-Socratic philosophy.1 Further research of my own into these aspects of Greek civilization confirms and widens the analysis, revealing a surprisingly varied and dramatic picture.2 The most interesting discovery may be that the Greeks had already faced this question of meta-historical identity in relation to the victim. I have chosen Euripides' lost tragedy,the Cretans, to illustrate this: its highly original subject within the corpus of Greek tragedy and its symbolic richness fully justify its choice. The few remaining fragments, which are almost entirely reproduced here, provide enough material for analyses that are necessarily more limited but more complete in themselves and thus more suitable for a single essay. Besides, they possess high literary quality and do not deserve to remain the sole preserve of specialists. The tragedy of the labyrinth Euripides probably wrote the Cretans before 430 B.C. The premisses of the plot are supplied by traditional mythical material. To demonstrate to his brothers that he has a divine right to the kingdom of Crete, Minos asks Poseidon to send a white bull from the sea for sacrifice. The god satisfies his request and Minos's power is confirmed, but he decided the bull is too beautiful to sacrifice. The wrath of the god is not slow to strike the king's family. Minos's wife, Pasiphae, falls in love with the bull and copulates with it. From this bestial union comes the Minotaur, the being, half-man half-bull, which is shut up in the labyrinth. Minos's nonperformance of the sacrifice therefore causes a grave crisis on the island, 1It could be said that the exciting comparison with Classical civilization is one of the inspiring forces of Violence and the Sacred. An analogous direction, as regards Virgil and sacrifice, is followed by Bandera in The Sacred Game (13IfI). See also note 1 1. 2G. Fornari, The Esoteric Knowledge of the Greeks: From Orphism to Tragedy, A SacrificialReading (forthcoming). Labyrinthine Strategies ofSacrifice165 jeopardizing the boundaries between man and animal. The monstrousness ofthe Minotaur represents the breaking-down ofthose differences that... (shrink)