By Simon Glendinning, Robert Eaglestone
This quantity brings jointly the most recognized and hugely revered commentators at the paintings of Jacques Derrida from Britain and the US in a sequence of essays written to commemorate the existence and are available to phrases with the dying of 1 of crucial highbrow presences of our time.
Derrida’s idea reached into approximately each nook of up to date highbrow tradition and the adaptation he has made is incalculable. He was once certainly arguable however the remarkable originality of his paintings, continuously marked through the care, precision and admire with which he learn the paintings of others, leaves us with a philosophical, moral and political legacy that would be either lasting and decisive.
The occasionally own, continuously insightful essays consider the a number of ways that Derrida’s paintings has marked highbrow tradition in most cases and the literary and philosophical tradition of england and the US specifically. the exceptional members provide an interdisciplinary view, investigating parts comparable to deconstruction, ethics, time, irony, expertise, situation and fact. This booklet offers a wealthy and trustworthy context for considering the importance of Derrida’s personal paintings as an occasion that arrived and maybe nonetheless continues to be to reach in our time.
Contributors: Derek Attridge, Thomas Baldwin, Geoffrey Bennington, Rachel Bowlby, Alex Callinicos, David E. Cooper, Simon Critchley, Robert Eaglestone, Simon Glendinning, Marian Hobson, Christopher Johnson, Peggy Kamuf, Michael Naas, Nicholas Royle
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Additional resources for Derrida's Legacies: Literature and Philosophy
I am shattered. I am constantly aware of the prodigious paradox that is the content of Abraham’s life, I am constantly repelled, and, despite all its passion, my thought cannot penetrate it, cannot get ahead by a hairsbreadth. I stretch every muscle to get a perspective, and at the very same instant I become paralyzed. (33) And later: “Abraham I cannot understand; in a certain sense I can learn nothing from him except to be amazed” (48). Like Kierkegaard, Derrida is horrified by the story of Abraham and Isaac.
So far, we have considered the situation of Abraham as he stretches out his arm. In deciding to kill Isaac, he has answered the call of the absolute other, and betrayed every human obligation, including his obligation to the future. Now observe: in the feline version of the story, not only do I decide to feed my cat, but I do feed it, and the other cats starve. This is what happens in the world, where no angelic voice stays my feeding hand and offers me an alternative which will save both my cat and all the others.
He has not told us the truth about Kafka’s story, since truth is always dependent on the context in which it is framed, but he has conveyed its meaningfulness for him in a particular time and place. The readers of Derrida’s essay are implicitly invited in their turn to do justice to the singularity of this extraordinary piece of literary and philosophical commentary. We can never articulate its laws, or the laws of literature, in wholly general terms, but each of us can, like the man from the country, find ways of creatively inhabiting the space outside the particular gate that it presents.