Abstract
In Glas, Derrida’s seminal book on Hegel and Jean Genet from 1974, one finds a remarkable concept of gift cited from Hegel. The concept is remarkable not just for what it means to say but for the significance of the place it is quoted from. It belongs to the first moment of the chapter on ‘Natural Religion’ in the Phenomenology of Spirit, a moment called ‘God as Light.’ So brief and forthright is this description of Zoroastric fire rites that it passes almost directly into the next one, ‘Plant and Animal.’ Equally concise, this exposition of ancient totem cults is then followed by a somewhat more generous account of ‘The Artificer,’ outlining the earliest religious artforms as these began to exteriorize cultic expressions of the absolute as representations. With the gift, which appears at the opening of ‘God as Light,’ Spirit takes the first step toward assuming for philosophy the notion of forgiveness, ‘the word of reconciliation’ that concluded the previous major section. Notwithstanding its obvious ethical supremacy and later historical articulation, the Christian word of reconciliation has not found for itself its own proper and true mode of expression. As the highest ethical principle, it may have unified all self-consciousness and being, but only in a natural language that presents the union as mere substance. Hence, darkness is over the earth. But dawn is underway.
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Notes
Simon Critchley, ‘A Commentary upon Derrida’s Reading of Hegel in Glas,’ in Hegel after Derrida, ed. Stuart Barnett (London: Routledge, 1998), 219–20.
Hegel, Phenomenology of Spirit, 506. [419.] For Hegel’s plays and puns on the word Beispiel in relation to Heidegger and Hölderling, see Andrzej Warminski, Readings in Interpretation, Hölderlin, Heidegger, Hegel (University of Minnesota Press, Minneapolis, 1987).
See John P. Leavey Jr., GLASsary (Lincoln: University of Nebraska Press, 1986), 52.
It should perhaps be pointed out that if this dead language is ‘literature,’ it is not in the sense of an institution, a body of writing, or a concept. As Derek Attridge writes, literature in Derrida is not ‘a matter of sensuous movements or narrative satisfactions, nor of the inevitable resources of metaphor, nor even of ‘textuality’ (in Barthes’ sense) or the much talked about ‘materiality of the signifier.’’ Attridge refers to the interview printed in ‘Deconstruction and the Other’ from 1981 where Derrida says about literature: ‘it is rather an allusion to certain movements which have worked around the limits of logical concepts.’ Derek Attridge, ‘Singularities, Responsibilities: Derrida, Deconstruction, and Literary Criticism’ in Critical Encounters: Reference and Responsibility in Deconstructive Writing, eds. Cathy Caruth and Deborah Esch (New Jersey: Rutgers University Press, 1995), 114.
G.W.F. Hegel, Hegel’s Philosophy of Mind, trans. William Wallace (Oxford: Clarendon, 1894), 278–9; Hegel, Philosophy of Nature, 410–15.
Cf. Derrida, Copy, Archive, Signature; John W. Phillips, “The Poetic Thing (On Poetry and Deconstruction)” in The Oxford Literary Review, 33.2 (2011), especially 238–9.
Roy Sellars, ‘Waste and welter: Derrida’s environment,’ in The Oxford Literary Review, 32.1 (2010), 42.
Jean Genet, The Thief’s Journal, trans. Bernard Frechtman (London: Penguin books, 1967), 185–6. [Journal du voleur (Paris: Collection Folio, Gallimard, 1999), 253.]
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© 2013 Dag Petersson
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Petersson, D. (2013). Love and the Difference a Family Makes. In: The Art of Reconciliation. Palgrave Macmillan, London. https://doi.org/10.1057/9781137029942_9
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