吉奧喬•阿甘本（1942- ），意大利著名哲學傢，古典學傢，也是當今世界上最富影響力的思想傢之一。現在在威尼斯高等建築學院、門德裏西奧建築學院、巴黎的哲學國際學院以及歐洲高等學院同時擔任教職。他早年求學於羅馬，後輾轉於法國的萊托、英國的倫敦，並在著名的瓦堡研究所從事研究 工作。1995年，一部《神聖人：主權權力與赤裸生命》讓他在世界思想界聲名鵲起，迄今為止，他已經圍繞“神聖人”係列齣版瞭9部著作（其中最著名的包括《王國與榮耀》《語言的聖禮》《例外狀態》《最高的貧睏》《身體之用》等）。在這些著作中，阿甘本依循著福柯在法蘭西學院的軌跡，探索瞭從古希臘以及中世紀以來，西方社會政治權力及其治理術是如何在政治生活中展開的，又是如何將我們的生命分割為政治生命和赤裸生命的。他的其他著作還包括《詩的終結》、《寜芙》、《潛能》等。

譯者簡介

藍江，男，1977年齣生，湖北荊州人，法學博士，現為南京大學哲學係教授、中國國外馬剋思主義研究會理事，主要研究方嚮為當代歐陸激進思想和哲學，主要著作有《馬剋思主義發展的多維曆史軌跡》、《生命、語言和影像：阿甘本的三個維度》（即齣）、《巴迪歐哲學思想導論》（即齣），主要譯著有阿蘭•巴迪歐的《世紀》、《小萬神殿》、《哲學宣言》、《第二哲學宣言》、《元政治學概述》、《存在與事件》（即齣），阿甘本的《王國與榮耀：神聖人II,2》（即齣），以及艾德•米勒和容•延森的《萬物的追問：哲學的邀請》。

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.