The article seeks to outline the relationship between Geschlecht III and Jacques Derrida’s published texts devoted to the mark “Geschlecht,” in order to detect the general strategy followed by Derrida in the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be built in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity (Archive Fever). In particular, the article aims to focus on a passage at the end of Jacques Derrida’s Geschlecht III, where the question of the animal in Heidegger comes into the foreground and in a way that is slightly different from what we already know through Derrida’s published works and that could require a re-reading of his “entire” work.
Animal d'archive: On the Tracks of Derrida's Writing
Francesco Vitale
2020-01-01
Abstract
The article seeks to outline the relationship between Geschlecht III and Jacques Derrida’s published texts devoted to the mark “Geschlecht,” in order to detect the general strategy followed by Derrida in the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be built in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity (Archive Fever). In particular, the article aims to focus on a passage at the end of Jacques Derrida’s Geschlecht III, where the question of the animal in Heidegger comes into the foreground and in a way that is slightly different from what we already know through Derrida’s published works and that could require a re-reading of his “entire” work.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
