By Catherine Malabou, Jacques Derrida
Counterpath is a collaborative paintings via Catherine Malabou and Jacques Derrida that solutions to the gamble inherent within the suggestion of “travelling with” the thinker of deconstruction. Malabou's readerly textual content of quotations and remark demonstrates how Derrida's paintings, whereas showing to be whatever yet a travelogue, is however replete with references to geographical and topographical destinations, and services as a type of counter-Odyssey via which means, theorizing, and thematizing notions of arrival, drifting, derivation, and disaster. in truth, through going immediately to the center of the Derridean concept of “spacing,” she eventually makes it look as if Derrida hasn't ever written approximately something yet go back and forth. Malabou's textual content is punctuated by way of a chain of postcards obtained through Derrida from locations resembling Istanbul and Porto, Laguna seashore and Athens, that are encouraged via his examining of her evolving dialogue. Writing in a well-known and unguarded demeanour, as though he have been “on holiday” from his personal writing, Derrida nonetheless continues to be completely trustworthy to that paintings and invitations the reader to mirror on a lot of what haunts his texts in addition to his everyday life, questions of distance and dying, the relation to the opposite, and exile..
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Additional resources for Counterpath: Traveling with Jacques Derrida
One can not deny it, which means that the most one can do is to deny it. Any d i scou rse that wou l d be opposed to i t wou l d , in effect, a lways suc cumb to the figure or the logic of den i a l . Such wou l d be the p lace where, before and after a l l the E n l ighten ments in the world, reason , critique, sc i e, tel e-tech nosc i ence, ph i losophy, thought in general, retai n the same s ource as rel i gi on in genera l . l ( f:� ,\ ) 60 CHAPTER 3 To neutra l ize i nvention, to tra n s l ate the u nk nown i nto a k nown, to metaphorize, a l legorize, domesticate the terror, to ci rcu mvent (with the h e l p of c i rcu m l ocutions: turns of ph rase, tropes, and strophes) the in escapable catastrophe, the undeviati ng preci pitation toward a remai nder less catac lysm.
What is between them takes place. Its place . � . � t 62 C HA P T E R 3 is the world, the world of today. But what does "today" signifY in such a case? When does today date from? Interrogating the sense of today's date is an enterprise that, in many respects, might seem absurd: today is ageless. But it remains that "agelessness" always has a today and in that sense it al lows itself to be dated. In what respect can our today be said to mark its date? " All the catastrophes that affect the world are produced in the imminence or the threat of the radical event that is atomic warfare.
I have never ceased learni ng, especia l ly when teachi ng, to speak softly, a difficult task for a pied nair, and espec i a l l y from with i n my fam i ly, but to ensure that th i s soft-spoken ness re vea l the reserve of what is thus held in reserve, with d ifficu lty, and with great difficulty, contai ned by the floodgate, a precarious floodgate that a l l ows me to apprehend the catastrophe. 3 B ut bei n g a l ready strangers to the roots of French cu ltu re, even if that was the i r o n l y acq u i red cu ltu re, the i r o n l y educational i nstru ction, and, espe c i a l ly, thei r o n l y language, bei ng strangers, sti l l more rad ical l y, for the most part, to Arab or Berber cu ltu res, the greater majority of these you ng " i n_ d i genous Jews" remai ned, i n add ition, strangers to Jewish cu ltu re: a CHAPTER 2 Pathway 2: Traversal-Foreword strange l y botto m l ess al ienation of the sou l : a catastrophe; others w i l l a lso say a paradox ical opportu n ity.