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Testimony of Death: From Extermination Camps to Clinical Practice: A Discussion with Winnicott, Blanchot and Derrida

100%

Legrand D.

Eidos. A Journal for Philosophy of Culture

2020

vol. 4

issue 2

102-113

Is there any witness to death? As detailed by Jacques Derrida, any testimony is detached from the direct perception of the event it reports. Thus, a testimony may report one’s encounter with death, not only with the death of the other, but also with one’s own death, even though it can never by experienced as such. In particular, reports from “survivors” ought to be taken un-metaphorically as they confront us with what Maurice Blanchot related as “the encounter of death with death.” In line with such testimonies, Donald Woods Winnicott helps us here in considering an “anterior death,” a death that already happened without being experienced as such and which may haunt the subject until it remembers it. But how may one remember a past that has never been present? And how may one remember death without dying? In dialogue with Maurice Blanchot, we are guided toward a manner of considering silence as an oblivious remembrance of that which can be brought back from death.

Becoming Animal, Becoming Others: What We Make with Art and Literature

67%

Cope K.

American, British and Canadian Studies Journal

2013

vol. 20

issue 1

121-138

What is poetry for? How does poiesis or making - the Greek root of the words poetry and poetics - succeed in moving us, in getting under our skins? “Becoming Animal” argues that art and literature are crucial zones of play, transformative modes that work by mixing up self and other, inside and out, human, animal and other matter. The essay moves from a consideration of D.W. Winnicott’s psychoanalytic discussion of the relationship between play and creativity, self and other, to Howard Searles’ investigation of transference and counter-transference as possible models for engaged and sensuously attuned critical stances. The last section of the essay offers an account of the “transgenic” work of Eduardo Kac, which literally mixes genetic material as art. The essay concludes by arguing that art, as poiesis, works by engaging us in constant contact with what is not ourselves as a process of becoming ourselves; it argues that such ‘self-estrangement’ is the way we sort out how to live an ontologically rich and ethically meaningful life.

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1 American, British and Canadian Studies Journal

1 Eidos. A Journal for Philosophy of Culture

1 Cope K.

1 Legrand D.

1 2020

1 2013

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Testimony of Death: From Extermination Camps to Clinical Practice: A Discussion with Winnicott, Blanchot and Derrida

Becoming Animal, Becoming Others: What We Make with Art and Literature