By Catherine Malabou, Jacques Derrida
Counterpath is a collaborative paintings by means of Catherine Malabou and Jacques Derrida that solutions to the gamble inherent within the thought 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 capabilities as a type of counter-Odyssey via that means, theorizing, and thematizing notions of arrival, drifting, derivation, and disaster. actually, by way of going directly to the center of the Derridean proposal of “spacing,” she eventually makes it look as if Derrida hasn't ever written approximately something yet trip. Malabou's textual content is punctuated by way of a sequence of postcards acquired through Derrida from locations comparable to Istanbul and Porto, Laguna seashore and Athens, that are encouraged through his studying 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 devoted to that paintings and invitations the reader to mirror on a lot of what haunts his texts in addition to his way of life, questions of distance and demise, the relation to the opposite, and exile..
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Additional info for Counterpath: Traveling with Jacques Derrida
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.
The rue Sai nt-Augustin, i n town , where I l ived with my parents u nti l I was 4 except i n the summer, I remembered a few months ago, i n the m i d d l e of my fac i a l para lysis, I was drivi ng i n Pari s near the Opera and I d iscovered that other rue Sai nt-August i n , homonym of the one i n Algiers where my parents l ived for 9 years after the i r marriage, my elder brother Rene was born there, Pau l-Mo'lse, whom I replaced, was born and then d i ed there before me, . . I remembered th is , .
That solidarity becomes evident in the reversal that proceeds the de nouement of the plot, as in a theatrical tragedy. After having "grasped" the "purpose" of writing, the chief reverses his situation of ignorance-he doesn't know how to write-in order to extract from it the best possible advantage. He pretends to know how to write in order to oppress and de ceive the other members of the tribe. This accidental inversion- by chance, thanks to a concurrence of circumstances or an event, absence of knowl edge produces an excess of power-confirms an inversion ofprinciple.