By Jacques Derrida, Maurizio Ferraris
OCR pdf, English translation
"This dialogue - either autobiographical and highbrow - is likely one of the very clearest introductions to Derrida's work." occasions Literary Supplement
In this sequence of dialogues, Derrida discusses and elaborates on many of the crucial topics of his paintings, corresponding to the issues of genesis, justice, authorship and loss of life. Combining autobiographical mirrored image with philosophical enquiry, Derrida illuminates the information that experience characterised his idea from its starting to the current day. If there's one function that hyperlinks those contributions, it's the subject of singularity - the distinctiveness of the person, the resistance of life to philosophy, the temporality of the singular and extraordinary second, and the matter of exemplarity.
The moment 1/2 this booklet comprises an essay by way of Maurizio Ferraris, within 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 equivalent to Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby offers an invaluable advent to the philosophy of 1 of Italy's so much renowned philosophers in addition to a great supplement to Derrida's personal ideas.
A style for the key comprises fabric that hasn't ever ahead of seemed in English.
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Additional info for A Taste for the Secret
The other explanation, regarding my refusal of public photography, has a political basis: it was a question of resistance to the rules that organize promotion in the 'culture market'. Authors had their pictures taken in stereotyped poses, the professor or the writer with the books behind them, etc. I had absolutely nothing against the art of photography, I just wanted to protest against the culture market and what it did with the image of authors. I remember when they were preparing that special issue of Arc about me [no.
But as soon as we take proper names and signatures seriously, things change; and taking proper names seriously means taking history seriously: the history of works [oeuvres], of the performative, of language (the fact that philosophy is bound up with natural languages). What is even more complicated is the paradoxical inscription of proper names in a language: the proper name is that which, in the language, is not part of the language, and is thus untranslatable. Taking the proper name seriously means taking seriously the oldest locus of resistance to the authority of translation; at the beginning of this conversation we spoke about opening to the other, about the fact that the other was there, and that there has to be a 'has to' by which I am disarmed before the other: this is what the proper name means.
I continue to see the spectre of a philosophy of history or of a 'fatum mahometanum', which, furthermore, carries in itself a contradiction: to open oneself to the event is to open oneself to everything, except to the event of not-opening. Derrida. If by 'philosophy of history' one means a philosophy of prOVidence, where history has an orientation - a sense - then everything we have just said marks the limit of such a philosophy. Where there is philosophy of history there is no longer history, everything may in principle be foreseen, everything is gathered in the gaze of a god or a providence.
A Taste for the Secret by Jacques Derrida, Maurizio Ferraris