By Catherine Malabou
A former scholar and collaborator of Jacques Derrida, Catherine Malabou has generated world wide popularity of her revolutionary rethinking of postmodern, Derridean critique. construction on her proposal of plasticity, a time period she initially borrowed from Hegel's Phenomenology of Spirit and tailored to a examining of Hegel's personal paintings, Malabou transforms our knowing of the political and the spiritual, revealing the malleable nature of those recommendations and their openness to confident reinvention.
In French to explain anything as plastic is to acknowledge either its flexibility and its explosiveness — its potential not just to obtain and provides shape yet to annihilate it besides. After defining plasticity when it comes to its lively embodiments, Malabou applies the proposal to the paintings of Hegel, Heidegger, Levinas, Levi-Strauss, Freud, and Derrida, recasting their writing as a strategy of swap (rather than mediation) among dialectic and deconstruction. Malabou contrasts plasticity opposed to the photograph component to Derrida's paintings and tile inspiration of hint in Derrida and Levinas, arguing that plasticity refers to sculptural types that accommodate or convey a hint. She then expands this research to the nation-states of politics and faith, claiming, opposed to Derrida, that "the occasion" of justice and democracy isn't mounted yet liable to human motion.
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Extra resources for Plasticity at the Dusk of Writing: Dialectic, Destruction, Deconstruction
The appearance of this zone evoked the “natural and social” decline to which the New World was destined and perhaps remains forever fated: The winds proper to both hemispheres dropped away; we were entering the zone where sails hang idle for weeks on end. So still is the air that one would think oneself in an enclosed space rather than in the middle of the ocean. . The ship slithers anxiously between the two surfaces, as if it had none too much time to avoid being stifled. . 31 In the evening, the darkness of the sky shows here as a dividing line, imprinted across the earth, separating the two worlds, the darkening of a farewell without any possible tearing, the passage to the other on the same ground.
It is not an analysis in particular because the dismantling of a structure is not a 19 PLASTICITY AT THE DUSK OF WRITING regression toward a simple element, toward an indissoluble origin. . I would say the same about method. Deconstruction is not a method and cannot be transformed into one. 39 With both destruction and deconstruction, we are confronted with a tendency that is intrinsic to metaphysics, not an autonomous, external hermeneutic intervention. In the end, this tendency may be termed either the self-destructive or self-deconstructive tendency of philosophy.
14 In light of these comments, plasticity appears as a reconquering of presence, starting from the separation and juxtaposition of the proposition’s membra disjectæ—subject-copula-predicate. The idea that subjectivity can only constitute itself by returning to itself, never by announcing itself in the naïve movement of a birth without history, the idea of a reformed, re-formed subject, seemed to me to be the fullest expressions of presence. ”15 Furthermore, the speculative proposition also proceeds from a prior dissolution of all form.