By Kas Saghafi
The chapters of this e-book revolve round the concept of the opposite in Jacques Derrida's paintings. How does Derrida write of and at the different? Arguing that Derrida deals the main attentive and liable brooding about the indisputable adventure of the alterity of the other,Apparitions--of Derrida's different examines exemplary circumstances of the relation to the other--the relation of Moses to God, Derrida's friendship with Jean-Luc Nancy, Derrida's relation to a lately departed actress stuck on video, between others--to display how Derrida forces us to reconceive who or what the opposite might be. For Derrida, the singularity of the opposite, continually written within the decrease case, contains not just the formal or logical experience of alterity, the otherness of the human different, but additionally the otherness of the nonliving, the now not dwelling, or the now not but alive. The ebook explores welcoming and hospitality, salutation and greeting, approaching,and mourning as constitutive features of the relation to those others. Addressing Derrida's readings of Husserl, Levinas, Barthes, Blanchot, and Nancy, between different thinkers, and varying throughout a few disciplines, together with artwork, literature, philosophy, and faith, this ebook explores the apparitions of the opposite by way of getting to the mode of showing or approaching the scene, the phenomenality and visibility of the opposite. reading a few of Derrida's essays at the visible arts, the ebook additionally demonstrates that video and images show an intimate relation to spectrality,as good as a structural relation to absolutely the singularity of the opposite.
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Additional resources for Apparitions-Of Derrida's Other (Perspectives in Continental Philosophy)
My access to the body (Leib) of the other, he writes in Le toucher, is possible only in “an indirect fashion, by appresentation, comparison, analogy, projection, and introjection” (LT 217). My relation to the other’s body, in contrast to the relation the other has to its own body, can only be through appresentation. The other, “ from its point of view [de son côté], which will never be mine, has an originary relation to its body,” the same way I have to mine, which I will never have with its (LT 217).
For David, shame denotes “the affect of primitive humiliation that the ‘superior’ projects in front of him to constitute the ‘inferior’ as his other, over there, outside, elsewhere” (FF 25). The human being, the sole living being capable of being naked, thus engages in a performative contradiction, as though saying “I am not naked because I am naked” (FF 25). In this denial of nudity: clothes, the “form” of modest clothing, would be a denial made real [une dénégation faite chose], a clothed [habillée], fashioned [façonnée] denial, already the mode or fashion [le mode ou la mode], the affectation of some fashion [in English], an originary betrayal of truth, an ineffaceable and immemorable perjury: I am (not) naked [je (ne) suis (pas) nu(e)].
Devoting several pages to an analysis of receiving (recevoir), welcoming (accueillir), receptivity, and passivity—but a passivity without passivity, “more passive than every passivity” (A 58/28)—Derrida demonstrates that not only does a vocabulary of hospitality operate throughout Levinas’s work, but more importantly, what Levinas calls “infinite hospitality” is “at the opening of ethics” (A 91/48). Moreover, this vocabulary of welcoming would provide us with “the keys” to a reading of Totality and Inﬁnity (A 101/54).