By Jacques Derrida, Maurizio Ferraris
OCR pdf, English translation
"This dialogue - either autobiographical and highbrow - is among the very clearest introductions to Derrida's work." instances Literary Supplement
In this sequence of dialogues, Derrida discusses and elaborates on the various vital issues of his paintings, resembling the issues of genesis, justice, authorship and demise. Combining autobiographical mirrored image with philosophical enquiry, Derrida illuminates the guidelines that experience characterised his suggestion from its starting to the current day. If there's one function that hyperlinks those contributions, it's the topic of singularity - the individuality of the person, the resistance of lifestyles to philosophy, the temporality of the singular and unprecedented second, and the matter of exemplarity.
The moment half this publication includes an essay by way of Maurizio Ferraris, during which he explores the questions of indication, time and the inscription of the transcendental within the empirical. a piece of exceptional philosophy and scholarship, the essay is built in shut proximity to Derrida and in discussion with figures comparable to Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby offers an invaluable advent to the philosophy of 1 of Italy's so much famous philosophers in addition to a very good supplement to Derrida's personal ideas.
A flavor for the key includes fabric that hasn't ever sooner than seemed in English.
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Additional resources for A Taste for the Secret
All these texts are performative performances, and it suffices that there be performative performance for the philosophy of history to find its limit: the philosophy of history says what there was, what there is, and what there will be, it makes no room for performance. And so as soon as there is something performative - as soon as something happens through discourse and in discourse - the philosophy of history is in trouble [en panne]. Ferraris. If it is true that in philosophy there are both animals (the philosophers) and zoologists (the historians of philosophy), in this taxonomy of the professional 'rational animal' you side without hesitation with the beasts.
Who have attempted to apply the linguistic turn to history. And their work has been placed in the same camp as mine - quite wrongly, in my opinion. Though it may well be true that I have more of an affinity with them than with more classical historians. Nevertheless, I do the best I can to mark the limits of the linguistic and the limits of the rhetorical - this was the crux of my profound debate with Paul de Man, who had a more 'rhetoricist' interpretation of deconstruction. As you know, I take great interest in questions of language and rhetoric, and I think they deserve enormous consideration; but there is a point where the authority of final jurisdiction is neither rhetorical nor linguistic, nor even discursive.
And then the Nazi invader ... It's sort of like the Resistance dream we spoke about, but turned upside down. Ferraris. Your resistance to photography lasted until 1979. Foucault wrote, in The Archaeology of Knowledge, that quite a number of people, himself definitely included, write in order to no longer have a face. Derrida. There were several different reasons for my refusal to be photographed, which did last a long time. One of them, a profound one, unquestionably has to do with being ill at ease with my own image - the relation to death that onl' reads 'I HAVE A TASTE FOR TilE SF< IUT' 53 in every portrait, the dissimulation of the face in writing, the problem I always have, for that matter, with my own face.