A Taste for the Secret by Jacques Derrida, Maurizio Ferraris

By Jacques Derrida, Maurizio Ferraris

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"This dialogue - either autobiographical and highbrow - is among the very clearest introductions to Derrida's work." instances Literary Supplement

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In this sequence of dialogues, Derrida discusses and elaborates on many of the primary topics of his paintings, comparable to the issues of genesis, justice, authorship and dying. Combining autobiographical mirrored image with philosophical enquiry, Derrida illuminates the information that experience characterised his concept from its commencing to the current day. If there's one characteristic that hyperlinks those contributions, it's the subject of singularity - the distinctiveness of the person, the resistance of lifestyles to philosophy, the temporality of the singular and extraordinary second, and the matter of exemplarity.

The moment 1/2 this ebook includes an essay by means of Maurizio Ferraris, during which he explores the questions of indication, time and the inscription of the transcendental within the empirical. a piece of exceptional philosophy and scholarship, the essay is built in shut proximity to Derrida and in discussion with figures reminiscent of Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby offers an invaluable advent to the philosophy of 1 of Italy's such a lot renowned philosophers in addition to an exceptional supplement to Derrida's personal ideas.

A flavor for the key contains fabric that hasn't ever ahead of seemed in English.

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This type of formula is then, perhaps, the model of those x's that define the Geschaft der Philosophie - here, the only history possible is one of philosophical dissensions and dissents: the history of philosophy as a history of disagreement and divisions about this same that is not the same. Why elect the word 'secret' to say this? Why privilege this word rather than the word same, or logos, or Iwinf(? The choice is not insignificant: it is a strategy, in a definite philosophical scene, that wishes to insist on Sl'pilnltion.

In The Post Card you tell of a dream about the Resistance. Derrida. Naturally my heroic phantasms - I think this is true for many Frenchmen and Frenchwomen of my generation - usually have to do with the period of the Resistance, which I did not experience firsthand; I wasn't old enough, and I wasn't in France. When I was very young - and until quite recently - I used to project a film in my mind of someone who, by night, plants bombs on the railway: blowing up the enemy structure, planting the delayed-action device and then watching the explosion or at least hearing it from a distance.

Naturally one has to invent, not in the sense of fiction but in that of the performative: here is my response to a given situation; if it is a signature, then it too has to be an event, in its way, modestly, but it has to have the form of something that is not simply constative - it too, like all acts of responsibility, has to pledge itself, to give as a pledge. This is how I would explain my concern about writing, form, rhetoric, politics. 1111 filII II. • t "PIH'ars. Thl' hig qlll'stiol1 80 'I HAVE A TASTE 1'01{ TilE SECRET' is the question of beauty, and I cannot tackle it so fast.

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