By Simon Morgan Wortham
Derrida wrote an unlimited variety of texts for specific occasions internationally, in addition to a sequence of works that painting him as a voyager. As an Algerian émigré, a postcolonial outsider, and an idiomatic author who felt tied to a language that was once now not his personal, and as a determine obsessed by means of the singularity of the literary or philosophical occasion, Derrida emerges as one whose suggestion continually arrives from time to time. yet how are we to appreciate the development in Derrida? Is there a chance that such tales of Derrida's paintings are likely to misunderstand the fundamental unpredictability at paintings within the stipulations of his concept? and the way are we to reconcile the significance in Derrida of the unknowable occasion, the pull of the singular, with deconstruction's serious and philosophical rigour and its claims to reconsider extra systematically the ethico-political box. This booklet argues that this negotiation in reality permits deconstruction to reformulate the very questions that we go along with moral and political accountability and exhibits this to be the relevant curiosity in Derrida's paintings.
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Additional info for Derrida: Writing Events
The death drive is the ‘original proposition’ which stops psychoanalysis from becoming ‘a lot of ink and paper for nothing’ (pp. 8–9). But the death drive, as Derrida calls us to remember, ‘not only incites forgetfulness, amnesia, the annihilation of memory, as mneme or to anamnesis, but also commands the radical effacement, in truth the eradication, of that which can 24 Derrida: Writing Events never be reduced to mneme or anamnesis, that is the archive, consignation, the documentary or monumental apparatus as hypomnema, mnemotechnical supplement or representative, auxiliary or memorandum’ (p.
14). At which point, of course, it simultaneously stops ‘belonging to the series of bodies or objects of which it forms a part’. Not unlike Cixous’s archive, therefore, the flower is only to be comprehended, only to be gathered, as an ‘all-powerful, powerless other’. This aporia, which Derrida names as that of a ‘transcendental excrescence’, is also perhaps that of philosophy, whose asymmetrical contract with the university consists in the fact that, in one sense, philosophy belongs to the university which, in another, it itself partitions or allots, and the same aporia concerns the relation of literature to its institution, or, here, to the library.
The unproductive dimension of Genet’s prison writing – however prodigious and unstoppable it may be – establishes a link with Sartre’s reading of Our Lady of the Flowers as an indefatigable masturbatory fantasy, in which the rhythms of the book – the luxurious strokes of the pen – build inexorably towards the ‘development of onanistic themes’ pursued as a means of ‘introspective exploration’, as Sartre euphemistically puts it (pp. 462–3), and since, as Sartre shrewdly points out, ‘masturbation is the derealization of the world and of the person masturbated as well’ (p.
Derrida: Writing Events by Simon Morgan Wortham