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يسعى هذا البحث لتحليل العلاقة بين نموذجي الشمولية الذي وضعته أنّا أرندت والبيولوجيا السياسية الذي طوّره ميشيل فوكو، وإيجاد النقاط المشتركة بينهما، تأكيداً لأطروحة الاستمرارية الخطية والفكرية والمفاهيمية لهذين النموذجين، من جهة، وتحليل علاقة النموذجين بالديمقراطية من جهة أخرى، تأكيداً لأطروحة التضامن الغائي بين المفاهيم الثلاثة. ومن أجل إيجاد العلاقة بين الشمولية والبيولوجيا السياسية والديمقراطية الغربية، يجب تجاوز الصورة النمطية التي أعطيت للعلاقة بين الشمولية والديمقراطية التي تضعهما في شكل متقابلات. إن نموذج البيولوجيا السياسية، من خلال تركيزه على تكنولوجيات السيطرة على الجسد التي مورست في المجتمعات الغربية. ; The aims of this research is to analyze firstly the relationship between the totalitarianism paradigm of Hannah Arendt and biopolitical paradigm of Michel Foucault, and find the common points between the two concepts in order to confirm the linear, intellectual and conceptual continuity thesis of both paradigms. Secondely, we analyse the relationship between the two paradigms and liberal democracy in the age of modernity, in order to confirm the teleogical solidarity thesis between the three concepts. To find these relationships between totalitarianism, biopolitics and democracy, we must overlap the given stereotype than take the negative relationship between totalitarianism and democracy. However, the biopolitical paradigm, through its focus on control of bodies practiced in Western societies, can help to reformulate the relationship between totalitarianism and Western democracy, and confirm the historical solidarity between them, because the employment of both paradigms the same techniques and disciplines. To reach the goal of the study, we will first discuss the relevance of Michel Foucault constribution in the emerging of biopolitical paradigm, and secondely we present the redefinition tentatives of theis paradidm by Antonio Negri and Giorgio Agamben. Thirdely, we analyze the relationship between biopolitics and totalitarianism by comparing Arendt and Foucault ideas, in addition to the contributions Agamben and its "camp" paradigm, which confirm the historical solidarity relationship between totalitarianism and Western democracy. We conclude by presenting the democratic alternative of tatalitarianism and biopolitics, through the concept of radical democracy based on the contributions of radical thinkers, especially Antonio Negri.

Antonio Gramši posvetio je znatnu pažnju razmatranju kulturnih praksi i njihove funkcije u društveno-istorijskim procesima u svojim teorijskim spisima. Važan segment njegovog istraživanja predstavljala je i analiza umetnosti i književnosti modernog doba koju je na posredan način uključio u širu raspravu o problemu podesnosti istorijskog marksizma kao filozofske i društvene prakse, društvene moći i njene kulturne i istorijske pojavnosti, kulturne i političke emancipacije podređenih slojeva itd. Fokusirajući se u najvećoj meri na eksplikaciju sociokulturnih, političkih i istorijskih dimenzija italijanske književnost od renesansnog do modernističkog perioda, Gramši je razvio nacrt sopstvene verzije marksističke estetike, ponudivši specifična tumačenja problema društvene funkcije umetničkih praksi, prirode umetničkog stvaranja i umetničkog dela, kao i potrošnje umetničkih produkata. U ovom tekstu ćemo razmotriti Gramšijeve uvide o umetnosti u kontekstu njegovih obuhvatnih teorijskih, filozofskih i istorijskih ispitivanja sa namerom da na njihovoj osnovi izvedemo model za analizu muzičkih praksi modernog i postmodernog doba. Cilj takvog poduhvata je ispitivanje dometa / ograničenja gramšijevske analize muzike iz koga bi proistekao kritički osvrt na način primene ključnih koncepata ovog teoretičara u postojećim istraživanjima muzičkih pojava. ; Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci's thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci's theory as well as the critical review of the application of its main concepts in the existing body of research on music.