|Burt Glosstar extra
Binding—central to speculate on Freud—also part about Freud binding of the Ecrits in love Lacan.
I would like to begin be reading a sentence that Walter Benjamin, one day, one night, himself dreamed in French. He told it in French to Gretel in an internment camp. In France at the time this was called a camp de travailleurs volontaire (“voluntary workers’ camp”). We will spot in it a particular letter in the alphabet which Benjamin thought he recognized in his dream. “Fichus,”165i
The Post Card is not limited to the words published on the bound pages of the French edition and all translations. In Psyche Invention of the Other, Volume 1 Derrida has a long fist endnote to Telepathy about that essay being a part of the book that was accidentally excluded during
were only published after his death 241
Suppose I published this letter, withdrawing it from incineration 234
la seance continue 232
n1. 423 Such a remainder [restant], I am no doubt publishing it in order to come closer to what remains inexplicable even to this day. These cards and letters had become inaccessible to me, materially speaking at least, by a semblance of accident, at some precise moment. They should have appeared as fragments and in accordance with the plan [dispositif] adopted at that time in "Envois" [Section One of la carte postale [Paris: Aubie-Flammarion, 1980]. In a manner that was apparently just as fortuitous, I rediscovered them very close at hand, but too late, when the proofs for the book had already been sent back for the second time. There will perhaps be talk of omission through "resistance" and such other things. Certainly, but resistance to what? to whom? Dictated by whom, to whom, how, according to what routes [voies]? From this bundle of daily dispatches that all date from the same week, I have exacted only a portion for the moment, for lack of space. Lack of time too, and for the treatment to which I had to submit this mail [courrier], triage, fragmentation, destruction, etc., the interested reader may refer to "Envois," 7ff.
Sigmund Freud; Wilhelm Fliess The origins of psycho-analysis; letters to Wilhelm Fleiss, drafts and
notes, 1887-1902. London, Imago Pub. Co. 
Freud’s Legacy, the title mentioned in envois, is the title of section 2, and the chapter opens with a comment about “The title of this chapter is a deliberately corrupt citation, which doubtless will have been recognized. The expression “Freud’s legacy [legs de Freud] is often encountered in the writings of Jacques Lacan and Wladimir Grandoo. Naturally I leave the reader as judge of what is going on in this corruption.
The next paragraph:
This chapter was originally published in the number of Etudes freudiennes devoted to Nicholas Abraham. I had then prefaced it with this note: 292
also first and last works by Barthes "I am dead" in Demeure and in Poe’s Case of M. Valdemar and also in Hamlet
Echolalias on dead languages. protocols dead language--Derrida --Barthes on Barthes essay Maurice Blanchot and Jacques Derrida, The Instant of my Death and Demeure: Fiction and Testimony
Jacques Derrida, "The Deaths of Roland Barthes," in Psyche: Inventions of the Other Vol I, 264-98
Jacques Derrida, on the death certificate; Hamlet's last words, "I am dead, Horatio" (Hamlet 5.3.)
Jacques Derrida, "Signature, Event, Context" in Margins of Philosophy and "Envoi" in Psyche: Inventions of the Other Vol I, 94-128
Jacques Derrida, "Living On: Borderlines"
Jacques Derrida, " . . . . . ," in The Work of Mourning
Poe does not translate the French and Latin quotations’ critical edition
Heidegger did not want the Gerek translaetd in transaltions of his German publications.
Crptography Cyrpt Shell and the Kernel Nietzsche’s columbarium (Spurs)
Last Interview “last times” Fichus, 168
The book that will never have been written, Fichus instead a TV guiide of its contents
Critical edition of Poe versus of Derrida.
Leave behind versus abndon purning and melancholia a protocol
So-called late Derrida—dividing the spoils of Derrida. Whopseaks for his legacy, what kinds of periodization, distinctions drawn, threads found, and so on. Derida’s lexicon.
Protocols for a reading of reading after death
Inedit pun on unpublished (French meaning) and false cognate with English, undited.
Derrida’s work as unedited.
Tense—was literary present would answer ( (conditional) will have been (future anterior) and would have been (future anterior conditional)
Last word after the last word (first word before the first)
Posthumous verus the “to come”, the future, the archive as about the future. Customs and customs agents 27-28 the to be versus the to come The Fuutre of the Profession fo the university Without COnditions
The event of reading / unreadability
Derrida reading letters, like WB’s in Fichus Reading awake sleeping, reading dreams
Survivance, living on
The archive and media, the support, the network
The debt, the gift, the inheritance, legacy, mourning, and melancholia
If I were one day to write the book I dream of to interpret this history, the possibilility, and the honor of this prize, it would include at least seven chapters. These in the style of a TV guide, are the provisional titles” (177 He hten gives numbered summaries of all seven chapters, but none of htem have titles , “Fichus” in Paper Machine, 177
The seven chapters of the the this history I dream of are already being written I’m sure. What we are sharing today icertaintly testifies to that. These wars and this peace wil have their new historians, and even their “historians’ wars” (Historikertreit). But we don’t yet know how and on what medium , under what veils for which Schliermacher of a future hermeneutics, on what canvas and on what internet fichu the artist of this weaving will be hard at work (the Plato of The Statesman would call him or her a hyphantès [weaver].) We will will never know, not us, on what Web fichu some Weber to come will plan to author or teach our history. No historical metalangauge to bear witness to itin the transparent element of some asolute knowledge. 181
those who must forgive me for not mentioning them other than in a summary note. 17 Note 17 203-04.
Before hastening to my conclusion Fichus 173 (the ocnclusion is on p. 181)
The final section closely “un-readings” of Jacque Derrida’s references to papers in Demeure and “The Deaths of Roland Barthes” and also connect reshelving in Derrida’s essay “Fichus” to addressing and corresponding in terms of Derrida’s not reading a dream dreamt and recorded in two letters by Walter Benjamin in Derrida’s rendering, Benjamin becomes as a papered person. But Derrida “reads” Benjamin’s letters, the dreams and letters in letters, in relation to a dream of a book he won’t write and in which he encrypts or represses the echo of his own statement that he no longer has time to write the book with seven chapters but can only deliver as a TV guide to the chapters of the virtual books he won’t write and Benjamin’s last letter in French not addressed to Adorno but readdressed by the editor of the Correspondence in which Walter Benjamin says he no longer has time to write the letters he would have loved to write. In “Fichus,” Derrida refuses to play either the librarian, to say that the text belongs here and is a property, a set of papers—the editor calls the letters “papers” and says they are part of the “Walter Benjamin Papers” in the Bibliothèque Nationale, or the editor, or the philologist for that matter. He refuses to paper over Benjamin. Derrida reads Benjamin’s letters as disseminated, as letters, but unaddressed or readdressed. He doesn’t go as far with his non-reading non-writing of the book as he could in terms of reading the correspondence as a question of rendering Walter Benjamin and Theodor Adorno papered or paperless persons, the transformation of the letters into papers in order to be rendered readable (or unreadable in our terms) or even thematize them the way he does at the start (this will be about paperless persons). Derrida is reading the letter in the letter as his waking dream of writing and reading.ii
Genetic criticism and the archive (Cixcous, Geneses, Genenealogies, Genres, and Genius: The Secrets of the Archive) “Genetic criticism comes to a dead end here. P. 27 dreams / translations versus published words, p. 27 “A huge and daunting task for centuries of readers to come. 28
Internal rereding—auto-biogrpaphical, as in preface to Husserl Genesis book versus Beast and the Sovereign Question. Cf also Fichus imagining read the future as illegible.
Leaving behind, the gift, legacy, debt, inheritance, under the rubric of a will, amortization or amorguization –amortize—dead hand
Internal citations and prefatory rellopings, like rereading legacy in the Envois as well as mentioned facteur in the envois. In To Speculate on Freud, Note on Freud and Scene of writing, note 3, 347; mention in text on p. 407
Anything in Fichus about who Derrida will be read after he’s dead?
Derrida Post Card notes
„library‘ and „history“ are precisely but posts, sites of assage or of relay among others, states, moments or effects of restance, and also particular representations, narrowe and anrrower, shorter and shorter sequences, proportionality, of the Great Telematic Network, and the worldwide connection. What would our correspondence be, and it is secret, the incecipherable, in this terrifying archive? Archive p. 18,
telematicometaphysical archives, in our library, for example, the marvelus Bodlean 20
In emigration, I repeatedly dreamt, with variations that I was at home in Oberrad, even after the Hitler dream had begun. I was writing in a blue exercise book like the ones from high school. What I was writing was a long treatise on music. It was the 1932 essay “On the Social Situation of Music,” which somehow merged with the Philosophy of Modern Music. I knew I had sent the whole manuscript (of which I had no copy) to a music journal (the Stuttgarter?), where it was accepted for publication, but it could not appear because of the Nazis, and then had gone missing. The source of anxiety in this dream was the idea that I had to find the manuscript because it contained the greatest importance for my project. . . . Once I finished the Philosophy of Modern Music the dream ceased to recur. Adorno Dream Notes 48
She writes by hand, on the edge of the bed when she writes down her dreams. She always writes by hand, no matter, what, she writes using a tool—pencil, or pen—that is, without a machine or amachine-tool; which is fairly unusal and of critical importance for the immense archives of which we speak . . . Helene Cixou’s phenomenal handwriting, to its form, to its lines, to its shorthand, to its graphic body and to the archival stakes in all that. Whoever has not set eyes on the lines of her handwrting will be missing something essential of the vivacity and animality they communicate to the body of the published text, the supple handling of the pen, patient acceleration of the letter; fine, lively, agile, sure, economincal , clear, legible running on in an uninterrupted and unimaginably cusrsiveness, careful that is, to find quickly, not to lose an instant and not to let itself be overtaken by what she finds herself finding before she has looked for it. . . Her handwriting reminds me of all the squirrels in the world. (39-40)
Helene Cixous in Geneses, Genealogies, Genres, And Genius: The Secrets of the Archive trans. Beverly Bie Brahic (Columbia UP, 2003), 16
“By an odd coincidence, it happens that Adorno was born on a September 11 (1903). Everyone who was in the audience knew this, and according to what had been the usual ritual since the prize was founded, it ought to heave been presented on September 11, not September 22. But because of a visit to China (I was in Shanghai on September 11), I had to ask for the ceremony to be put back” (203n. 29).
"(If Gretel Adorno were still alive, I would write her a confidential latter about the relationship between Teddie and Detlef [Derrida does not comment on the difference between the "v" and the "f" at the ends of Detlev / Detlef] and would ask her why Benjamin doesn't have a prize, and I would share my hypotheses on this subject with her.)" (177-78).
My speech to
you today is very oneirophilic, and the reason is that dreaming is the
element most receptive to mourning, to haunting, to the spectrality of
all sprits and the return of ghosts (such as those adoptive fathers
Adorno and Benjamin-that's what they were for us and for others too,
in their disagreements as well, and that's what Adorno perhaps was for
Jacques Derrida, “Fichus: Frankfurt Address,” in Paper Machine, trans.
Rachel Bowlby (Stanford: Stanford University Press, 2005). I am dreaming. I am sleepwalking” (169)
Going Postal: Err-Responsibility
The sentence follows from the previous one , also the last of the previous section
Beyond all conceptual oppositions Bemächtigen indeed situates one of the exchangers between the drive to dominate as the drive of the drive, and the “will to power.” 405
The third recourse is like the third ring he mention, the chapter the third of three seminars, the first two of which he does not publish.
Nietzsche’s name is not mentioned” 26) like Derrida says Freud does not mention Socrates name.
“limping devil” 269
limping p. 406
Cites Freud and scene of writing, n 6, 262 and also in the body of the text, 407.
“to be continued” 337 and 409
Top of 293, the last sentence of the long quotation of a preface that is a note:
“Other fragments of the same seminar will appear soon in book form.” 293
This has encouraged me to publish this fragment here. 292
Here is the description, and I will interrupt my translation at moments. 307
Trains and spool 314-15 locomotive 316
Note on Freud and Scene of writing, note 3, 347; mention in text on p. 407
Totally uninebriated 354
supplement—but the paratext—also a lacing,a stricture?
6. Donner—le temps (To Give—time, in preparation, to appear later. 359
la séance continue 376
these are the last words of the chapter. . . This is the final point, the last words of the chapter. 385
Other essays (to appear) analyze this figure under the heading of “double chiasmatic invagination of the borders.” 391
The X about which one does not know what it is before banded, precisely, and represented by representatives. 393
8. An Allusion, in the seminar Life death, to other seminars organized, or three years running, under the title of La Chose (The Thing) (Heidegger / Ponge, Heidegger / Blanchot, Heidegger / Freud), at Yale and in Paris. Perhaps they will give rise to other publications later. 401.
In this graphics desire is without “without,” is a without without without.9
9 A Cf. Pas and Le Pareregon in La Verites en peinture. [The phrase here is “un sans snas sans.]
Freud does not literally say 407
Certainly this translation is fauty by omission 289
My answer would be that—mod. First time, then repated part of it 378
Quotation punctured with ellipses lifted out the book 371
Drive of the drive 356
2. Fred and the Scene of Writing,” in Writing and Difference. 346
will become archival 342
And, once more, I will recall the scene made by Freud in Nietzsche’s memory. 263 I have cited it elsewhere 263
I will attempt the beginning of this book then, will attempt to draw it toward me for the third ring? But is it a ring? 260
Beyond the Pleasure Principle: I will propose a selective, filtrating, discriminating reading. 261
As if it had an incipit, I am, then, opening this book. It was our agreement that I begin it at the moment of the third ring1. 259
1, 259 The text on whose borders this discourse would be attempting to maintain itself is Freud’s BPP in volume 18 of the Standard edition; all references by page number in the text by page number]. In effect, I am extracting this material from a seminar which followed the itinerary of the three rings. Proceeding each time from an explication of a given text of Nietzsche’s, the seminar was first concerned with a “modern” problematic of biology, genetics, epistemology, or the history of the life sciences (readings of Jacob, Canguilheim, et.c,).Second ring: return to Nietzsche, and then an explanation of the Heideggerian reading of Nietzsche. Then, here, the third and last ring.
To Be Published
Footnote 10, p. 403”10. The problematic of the Ly a” (es gibt, There is) was engaged in another semnar (Donner—le temps), fragments of which are to be published.
Nietzsche introduces the three metamorphoses in his book Thus Spoke Zarathustra. The metamorphoses describe the process of spiritual transformation that characterizes his vision of the flourishing life. We don’t always think of Nietzsche as a “spiritual” philosopher. But the story of the three metamorphoses is nothing if not a saga of spiritual transformation. The phases of spiritual metamorphosis are symbolically represented by the camel, the lion, and the child.
Bio-Politics ö ü ß ä
Peter Szendy (Listen: A History of Our Ears Charlotte Mandell (Translator), Jean-Luc Nancy (Foreword)
Fort:Da, Can’t You See I’m Burning?
“The time has not come for me either. Some men are born posthumously. . . .; perhaps there will be endowed chairs dedicated to Zarathrustra interpretation.” Nietzsche, Ecce Homo, in The Anti-Christ, Ecce Homo, Twilight of the Idols: And Other Writings Ed. Aaron Ridle Trans Judith Norman (Cambridge University Press, 2005), 100.
Repeats the repetition of repetition 301
the spectrality of the ‘material’ support takes the book’s future from the opposition of life and death that orients biopolitics to the way a text lives on, or ‘survives’, to use Derrida’s word: ‘Survivance in the sense of survival that is neither life nor death pure and simple, a sense that is not thinkable on the basis of the opposition between life and death’.
Derrida, The Beast and the Sovereign 2, op cit., pp130-31. Derrida also links the ‘book’ and ‘bios’ through the phantasm in The Beast and Sovereign 2, op. cit., p129-133, p148-49.
In Robinson Crusoe, Robinson Crusoe himself, both the Robinson Crusoe who speaks and the one keeping a journal, all that they—there are already a lot of them-might have desired is that the book, and in it the journal, outlive them: that might outlive Defoe, and the character called Robinson Crusoe. . . . Now this survival, thanks to which the book bearing its title has come down to us, has been read and will be read, interpreted, taught, saved, translated, reprinted, illustrated, filmed, kept alive by millions of inheritors—this survival is indeed that of the living dead. (130)
The book lives its beautiful death. That’s also finitude, the chance and the threat of finitude, this alliance of the living and the dead. I shall say that this finitude is survivance. Survivance is, in a sense of survival that is neither life nor death pure and simple, a sense that is not thinkable on the basis of the opposition between life and death. (130)
Like every trace, a book, the survivance of a book, from its first moment, is a living-dead machine, sur-viving, the body of a thing buried in a library, in cellars, urns, drowned in the worldwide waves of the Web, etc., but a dead thing that resuscitates each time a breath of living reading, each time the breath of the other or the other breath, each time an intentionality intends it and makes it live again by animating it, like . . . a body, a spiritual corporeality, a body proper (Leib and not Körper), a body proper animated, activated, traversed, shot through with intentional spirituality. (131)
in the procedural organization of death as survivance, as treatment, by the family and / or the State, of the so-called dead boy, what we call a corpse.,. . . not just in the universal structure of survivance . . . but in the funeral itself, in the organized manner, in the juridical apparatus and the set of technical procedures whereby we . .deliver the corpse over to its future, prepare the future of a corpse and prepare ourselves as one says prepares a corpse. . . . this fantasmatics of dying alive or dying dead (132)
Survivance and “Living On” essay in Parages and also Deconstruction and criticism. Gentte calling the foonote a commentary.
Jacques Derrida, “Preface to the 1990 Edition” in The Problem of Genesis in Husserl's Philosophy trans. Marian Hobson University of Chicago Press, 2003, xiii-iv.
Was it necessary to publish this writing dating from 1953-54? In truth I must say that even today, though it is over and done with, I am not sure. . . .
In rereading this work, along with the worries, the reservations, even the objections which multiplied in me, along with the bouts of ill-ease that I felt then, I was most disturbed by the listening to myself, in the experience that consists of hardly hearing myself, with difficulty, as on tape or screen, and of recognizing without recognizing, I mean without accepting, within even tolerating, through the memory of shifts in philosophy, in rhetoric, in strategy, in a way of speaking, hardly changed perhaps, an ancient and almost fatal position of a voice, or rather a tone. This tone can no longer be disassociated from a gesture that is uncontrollable even in self-control: it is like a movement of the body, in the end always the same, to let itself into the landscape of a problem, however speculative it may seem. And yes, all that seems like an old roll of film, the film is almost silent, above all one can hear the noise of the machine, one picks out old and familiar silhouettes. One can no longer listen to oneself at such a distance, or rather, if one can, on the other hand alas, begin to hear a bit better, it is also because one has the most trouble in doing it: pain in front of a screen, allergy at the authoritarian presence of an image of oneself, in sound and in sight, about which one says to oneself in the end, perhaps, one never liked it, nor really known it hardly run across it. That was me, that is me, that?
I had not reread this student essay for more than thirty years. The idea of publishing it had never crossed my mind.
Compare this to Derrida on Freud talking about Freud publishing BPP in The Post Card, 385
“If so, it may be asked why I have embarked upon efforts such as those consigned to this chapter, and why they are delivered for publication. Well—I cannot deny that some of the analogies, correlations, and connections which it contains seemed to me to deserve consideration” (60; mod.). Period, the end. This is the final point, the last words of the chapter. The Post Card, 385.
The ellipsis of memory 373
Give myself tonight 372
Peter Szendy, Listen: A History of Our Ears Trans Charlotte Mandell; Foreword, Jean-Luc Nancy (New York: Fordham University Press, 2008)
Jacques Derrida, Spurs: Nietzsche's Styles/ Éperons: Les Styles de Nietzsche. Trans. Barbara Harlow (Chicago: University Of Chicago Press, 1981)