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Abstract
Fifteen years after his death, Aldo Giorgio Gargani’s work remains largely unexplored. He repeatedly deconstructed traditional notions of “reason” and “truth” by unmasking “top-down theoretical strategies” and the epistemological fetishes that derive from them, relating them to variable and contingent decision-making modules, as well as to the discursive regimes of an anthropological form of life. Since the 1980s, Gargani has questioned disparate symbolic codes and promoted unexpected textual intertwining. He drew on the formidable intellectual repertoire offered by Central European culture, from Ernst Mach and Sigmund Freud to Hugo von Hofmannsthal, Robert Musil, Franz Kafka, Thomas Bernhard, and Ingeborg Bachmann. From this renewed perspective, metaphor emerges as the most fitting linguistic tool through which the individual can strive to regain control of their life. Experimenting with a new, highly personal style of philosophical-literary writing, Gargani demonstrates that every theoretical endeavor and description of oneself and the world is surpassed by a second narrative. Our theories and definitions are destined to become part of the reality they intended to grasp – along with us, their creators. Thus, another story begins, in which being distant from the truth is the only way to be closer to it, displacing ourselves in the gap between reality and unreality.