The Animal That Therefore I Am
avq 2009 · Fordham Univ Press
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The translated, complete text of Derrida’s 1997 ten-hour address, “The Autobiographical Animal,” focusing on the industrialized treatment of animals.
The Animal That Therefore I Am is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction?dating from Descartes?between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.” Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them.
The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts” and trace a history of how man has systematically displaced onto the animal his own failings or bêtises.
The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life” to which he returned in much of his later work.
The Animal That Therefore I Am is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction?dating from Descartes?between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.” Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them.
The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts” and trace a history of how man has systematically displaced onto the animal his own failings or bêtises.
The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life” to which he returned in much of his later work.
Müəllif haqqında
Jacques Derrida was the single most influential voice in European philosophy for the last third of the twentieth century. His many books include Of Grammatology, Specters of Marx, and The Animal That Therefore I Am.
MARIE-LOUIS MALLET has been a Program Director at the Collège International de Philosophie and was the organizer of three of the four Derrida Cerisy conferences. She is author of La Musique en respect and is the editor of the special edition of Les Cahiers de l’Herne on Derrida.
David Wills is Professor of French Studies and Comparative Literature at Brown University. His major work, on the originary technicity of the human, is developed in three books: Prosthesis (Stanford, 1995), Dorsality (Minnesota, 2008), and Inanimation (Minnesota, 2016). He has translated various works by Jacques Derrida, including the forthcoming Theory and Practice (Chicago, 2018).
MARIE-LOUIS MALLET has been a Program Director at the Collège International de Philosophie and was the organizer of three of the four Derrida Cerisy conferences. She is author of La Musique en respect and is the editor of the special edition of Les Cahiers de l’Herne on Derrida.
David Wills is Professor of French Studies and Comparative Literature at Brown University. His major work, on the originary technicity of the human, is developed in three books: Prosthesis (Stanford, 1995), Dorsality (Minnesota, 2008), and Inanimation (Minnesota, 2016). He has translated various works by Jacques Derrida, including the forthcoming Theory and Practice (Chicago, 2018).
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