By David Farrell Krell
Jacques Derrida’s ultimate seminars have been dedicated to animal lifestyles and political sovereignty–-the connection being that animals slavishly adhere to the legislation whereas kings and gods tower above it and that this courting finds a lot approximately humanity within the West. David Farrell Krell deals a close account of those seminars, putting them within the context of Derrida’s past due paintings and his critique of Heidegger. Krell focuses his dialogue on questions equivalent to demise, language, and animality. He concludes that Heidegger and Derrida percentage a dedication to discovering new methods of conversing and brooding about human and animal life.
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Extra resources for Derrida and Our Animal Others: Derrida's Final Seminar, the Beast and the Sovereign (Studies in Continental Thought)
Later he will speak of the possibility of a “divisible” sovereignty, a limitation on individual sovereignty such as that proposed during World War I by Freud and Einstein, as the goal of deconstruction. Before opening the floor to questions, Derrida remarks that one must reread the Bible—in order to see that the one who has the most to complain about in the entire story is the serpent! More on the Bible in chapter 3, and still more in chapter 4. 26 Derrida and Our Animal Others 10. Principal sources: Celan, The Meridian; Georg Büchner, Danton’s Death; La Fontaine, “The Ape and the Dolphin”; Georges Bataille, “Le Petit”; Heidegger, Introduction to Metaphysics (EM, 1935); Henri F.
The narrator of Valéry’s Monsieur Teste begins by saying, “Bêtise is not my strong suit,” but such a confident, arch declaration is perhaps the dumbest thing one could ever say about oneself. And if Deleuze and Guattari, influenced profoundly by Schelling’s Urgrund as Ungrund, the “primal ground” as a “nonground” or abyss, hence as the bottomless foundation of human freedom, can laugh to scorn—as though it were sheer bêtise—Freud’s (mal)treatment of both animals and patients, Derrida finds that he cannot laugh for too long a time with them, no matter how salutary the laughter may be.
The eleventh session ends with a detailed consideration of the modern zoo, especially the “animal-friendly” zoo designed by the circus entrepreneur Carl Hagenbeck in nineteenth-century Germany. Here the “care” exercised causes the brutal iron cages to disappear; they are replaced by theatrical habitats and by an unleapable gap dug between spectator and spectated. 12 Derrida has less to say about the enclosure of the mad, perhaps because Foucault has said it so well, but (if I may add a suggestion) one may also consult Book 2, chapter 33, of Musil’s Der Mann ohne Eigenschaften for a tour through an asylum, a tour that offers its visitors spectacle enough.