What is it to be seen (naked) by one's cat? In “L'animal que donc je suis” (2006), the first of several lectures that he presented at a conference on the “autobiographical animal,” Jacques Derrida tells of his discomfort when, emerging from his shower one day, he found himself being looked at by his cat. Th experience leads him, by way of reflections on the question of the animal, to what is arguably the question of his philosophy: Who am I? It (...) is not so much that Derrida wants to answer this question as to be free of it. His task here is to determine the sense of it— where it leads, for example, when it comes to the nature of the diff erence between himself and his cat. Unlike animal rights activists (and unlike philosophers Martha Nussbaum and Cora Diamond, who have recently addressed this issue), Derrida does not want to erase this difference but wants to multiply it in order (among other things) to affirm the absolute alterity or singularity of his cat, which cannot be subsumed by any category (such as the animal). His cat is an Other in a way that no human being (supposing there to be such a thing, which Derrida is not prepared to grant) could ever be. And here is where “the question who?” leads as well, namely, to a path of escape from absorption into any identity-machine. As Derrida puts it in A Taste for the Secret: Who am I when I am not one of you? In a hospitable world one would be free not to answer. (shrink)

Prologue : on the freedom of non-identity -- Otherwise than human (toward sovereignty) -- What is human recognition? (on zones of indistinction) -- Desubjectivation (Michel Foucault's aesthetics of experience) -- Becoming animal (some simple ways) -- Derrida's cat (who am I?).

The philosopher Stanley Cavell once asked, "Can a human being be free of human nature?" _On Ceasing to Be Human_ examines philosophical as well as literary texts and contexts, in which various senses of Cavell's question might be explored and developed. During the past thirty or so years, the very concept of "being human" has been called into question within such fields as cybernetics, animal-rights theory, analytic philosophy. This book examines these issues, but its main concern is the link between (...) freedom and nonidentity that Cavell's question implies, and which turns out to be a major concern among the thinkers Bruns takes up in this book: Maurice Blanchot, Emmanuel Levinas, Michel Foucault, Gilles Deleuze and Félix Guattari, and Jacques Derrida. Each of these is, in different ways, a philosopher of the "singular" for whom the singular cannot be reduced to concepts, categories, distinctions, or the rule of identity. (shrink)

If there is no such thing as literature -- i.e., self-identity of the literary thing -- if what is announced or promised as literature never gives itself as such, that means, among other things, that a literature that talked only about literature or a work that was purely self-referential would immediately be annulled. [...]But here now is Asja Szafraniec, a philosopher at the University of Amsterdam, with a work of speculative criticism in which she proposes to stage an encounter between (...) Derrida and Beckett -- not, to be sure, a ludic or parodic riff in Derrida's style but rather a philosophical "dialogue" composed of three thematic "points of transaction": (1) the subject, (2) the authority of literature, and (3) negativity. (shrink)

Leslie Hill is a literary critic, not a philosopher, but as a Professor of French Studies at Warwick University in England he is situated at an interesting, if possibly fatal, crossroads: on the one side is a venerable British tradition that thinks of criticism in terms of the elucidation and evaluation -- which is to say the elevation -- of literary monuments (F. R. Leavis); on the other there is recent French intellectual culture, where the boundaries between philosophy and literature (...) are often indeterminate, meaning particularly that the writing of both philosophy and criticism is nothing if not "modernist" in its embrace of nondiscursive forms of language, a practice reflected in Hill's own elliptical prose, with its recurrent play of chiasmus and oxymoron ("the readability of any text is made both possible and impossible only by the impenetrable shadow of the unreadable" [336]). (shrink)