By Anne Emmanuelle Berger, Marta Segarra
Demenageries, pondering (of) Animals after Derrida is a set of essays on animality following Jacques Derrida's paintings. The Western philosophical culture separated animals from males through with the exception of the previous from every little thing that was once thought of "proper to man": giggling, agony, mourning, and peculiarly, considering. The "animal" has typically been thought of absolutely the different of people. This radical otherness has served because the purpose for the domination, exploitation and slaughter of animals. What Derrida referred to as "la pensée de l'animal" (which potential either pondering about the animal and "animal thinking") might help us comprehend in a different way such it appears human good points as language, notion and writing. it can additionally support us imagine anew approximately such hugely philosophical matters as modifications, otherness, the end(s) of historical past and the realm at huge. because of the moral and epistemological drawback of Western humanism, "animality" has develop into a virtually stylish subject. in spite of the fact that, Demenageries is the 1st assortment to take Derrida's pondering on animal pondering as a kick off point, a manner of reflecting not just on animals yet ranging from them, with a purpose to deal with a number of matters from an enormous variety of theoretical views: philosophy, literature, cultural concept, anthropology, ethics, politics, faith, feminism, postcolonialism and, after all, posthumanism.
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Extra info for Demenageries: Thinking (of) Animals after Derrida. (Critical Studies Series)
Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques. L’Écriture et la différence. Paris: Seuil, 1967. ” Preface to William Warburton. Essai sur les hiéroglyphes des égyptiens. Paris: Aubier Flammarion, 1977. ” La Vérité en peinture. Paris: Flammarion, 1978. 40 Marie-Dominique Garnier- — Margins of Philosophy. Trans. Alan Bass. Chicago: the University of Chicago Press, 1982. ” Ulysse Gramophone: Deux mots pour Joyce. Paris: Galilée, 1987. 35-53. ” Trans. Pascale Fusshoeller, Leslie Thatcher, and Steve Weissman.
109) Indeed, in this originary scene – “At the beginning there was the worm (Au commencement, il y eut le ver),” the narrator remarks ironically, truncating no less than the all-mighty inaugural word Ver/be, Logos and Be (the Word curtailed, as it were, into the Worm, by the twist of only one letter), rather high stakes where the animal is concerned… – who scrutinizes (dévisage) whom? Is it certain that it is the silkworms who are caught, unbeknownst to them, in their auto-affective activities (feeding themselves, eating themselves, making love to themselves)?
Is it certain that it is the silkworms who are caught, unbeknownst to them, in their auto-affective activities (feeding themselves, eating themselves, making love to themselves)? What if it was really the child who didn’t know he was being observed, becoming an object for them, their Thing? What if these faceless creatures (we will come back to this question that haunts Derrida throughout this critique of Levinas: what exactly is a face? ) were the ones who were scrutinizing the child’s face, envisaging it altogether differently from their point of view?