Learning to Live Finally: The Last Interview by Jacques Derrida

By Jacques Derrida

With demise looming, Jacques Derrida, the world's most famed thinker, often called the daddy of "deconstruction," sat down with journalist Jean Birnbaum of the French day-by-day Le Monde. They revisited his life's paintings and his forthcoming demise in a protracted, unusually available, and relocating ultimate interview.

Sometimes known as "obscure" and branded "abstruse" via his critics, the Derrida present in this ebook is open and interesting, reflecting on an extended occupation demanding very important tenets of eu philosophy from Plato to Marx.

The modern that means of Derrida's paintings can be tested, together with a dialogue of his many political actions. yet, as Derrida says, "To philosophize is to profit to die"; as such, this philosophical dialogue turns to the realities of his impending death--including lifestyles with a deadly melanoma. after all, this interview continues to be a touching ultimate examine an extended and distinctive career.


“No philosopher within the final a hundred years had a better influence than he did on humans in additional fields and diverse disciplines.... No philosopher has been extra deeply misunderstood.”
—Mark C. Taylor, long island occasions

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As we shall see, the very particular form of “tragedy” lived out in the ardently longed-for deaths of Wagner’s Tristan and Isolde was provocatively articulated in Nietzsche’s 1872 The Birth of Tragedy from the Spirit of Music (Die Geburt der Tragödie aus dem Geiste der Musik), a book he dedicated to Wagner. The cultural web here is complex, but untangling its philosophical, psychological, literary, and musical threads will allow us to see how a positive and even erotic notion of death is possible in this music drama— although such a view might feel foreign today.

Did her death belong to another, because this one was clearly “too small” (“trop petite”) for her? In the mouth of this happy and prescient girl, Bernanos placed his personal extension of the Catholic doctrine of the Communion of Saints, in which all members of the Church, living or dead, are bound together by grace into a community. The logical conclusion of this belief, as Father Owen Lee explains,35 is Constance’s notion that because of the Prioress’s hard death, someone else will have an easy one: One doesn’t die each for oneself, but for one another, The Contemplation of Death 33 or even one in place of another, who knows?

But audience consent is needed for this to work. 46 Does this, then, make these operas “tragic,” in the Aristotelian sense of the word? 47 Although we have been using the Aristotelian term “catharsis” to talk about the audience response to operatic deaths, there is a very real sense in which operas such as Dialogues 38 The Contemplation of Death des Carmélites or Wagner’s Tristan und Isolde (the topic of the next chapter) are not tragedies in the classical sense of the term as used in the Western tradition.

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