The most famous term from Agamben is surely “bare life,” la vita nuda. As often happens, this term actually stems from Benjamin, specifically the “Critique of Violence,” where he briefly mentions blosses Leben. As Carlo Salzani pointed out in our ACLA seminar on Agamben last spring, Agamben’s la vita nuda is not his own translation of blosses Leben, but is instead drawn from the original Italian translation of Benjamin’s work. And as a translation of Benjamin, la vita nuda is imprecise — one would probably prefer something like “mere life” (or, less circumspectly, “pure life”).
Similarly, the standard translation “bare life” initially seems questionable. One might have opted for “naked life” — a translation that is more visceral and more immediately clarifies that this life is emphatically post-political, not (as one might dare to think) pre-. You cannot be “naked” outside the context of social norms, while you can in some sense be “bare.”
Yet there is something ingenious in the translation “bare life” that warrants preserving it beyond simple considerations of continuity and tradition. It somehow straddles the gap between the original Benjaminian term and Agamben’s translation — echoing the way that the term itself is in a weird space of indeterminacy where it is neither fully Benjamin’s nor fully Agamben’s own creation.