By Kevin Attell
Agamben's concept has been seen as descending essentially from the paintings of Heidegger, Benjamin, and, extra lately, Foucault. This publication complicates and expands that constellation through displaying how all through his profession Agamben has continually and heavily engaged (critically, sympathetically, polemically, and sometimes implicitly) the paintings of Derrida as his leader modern interlocutor.
The ebook starts off by way of analyzing the improvement of Agamben's key strategies infancy, Voice, potentiality from the Nineteen Sixties to nearly 1990 and indicates how those suggestions constantly draw on and reply to particular texts and ideas of Derrida. the second one half examines the political flip in Agamben's and Derrida's pondering from approximately 1990 onward, starting with their investigations of sovereignty and violence and relocating via their parallel remedies of juridical energy, the relation among people and animals, and at last messianism and the politics to return.
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Agamben's concept has been considered as descending basically from the paintings of Heidegger, Benjamin, and, extra lately, Foucault. This e-book complicates and expands that constellation through displaying how all through his occupation Agamben has always and heavily engaged (critically, sympathetically, polemically, and infrequently implicitly) the paintings of Derrida as his leader modern interlocutor.
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Extra info for Giorgio Agamben: Beyond the Threshold of Deconstruction
It is still called writing, but Derrida asserts that this is only because it has something in common with writing in the traditional sense, primarily the characteristics of exteriority and negativity, but it is no longer constitutively attached to its positive counterpart. It seeks to indicate a sort of hypernegativity and hyperexteriority that our metaphysical vocabulary cannot properly name. ”14 As a deconstructed term (indeed, as one of the most privileged of Derrida’s deconstructed terms), arche-writing names something that is not identical with the (negative) term of writing but is nevertheless only manifest in that negative term, which in turn is only phenomenally sensible within the conceptual opposition of which it forms an indispensable pole.
For Derrida, the man from the country’s error, so to speak (for the law’s inaccessibility “puzzles” him), is that he wants to enter the topos of the law, wants to touch it, and does not understand that the law is not a substantial thing to whose presence one might gain full access; instead, the law is (or functions like) a text to be read (BtL 196). “Perhaps man is the man from the country as long as he cannot read; or, if knowing how to read, he is still bound up in unreadability within that very thing which appears to yield itself to be read.
Whatever this hidden or undiscovered text might contain—that is, whatever the text might say—is ultimately a matter of indifference, since it could not invalidate the reading offered above; “quite the contrary,” it could only further confirm it. On one hand, Derrida’s justification for this claim is based on the vast influence of the published text on twentieth-century (structuralist) thought, which is itself held up to scrutiny in Derrida’s reading of the Course. To be First Principles sure, the influence of the Course on subsequent structuralist thought is a matter of historical fact; the Course has already initiated and determined the shape of this epoch-making discourse, and so the possible discovery of “another” Saussure would not invalidate the reading of the Course as the source text of structuralism.
Giorgio Agamben: Beyond the Threshold of Deconstruction by Kevin Attell