In a brief comment in ‘History of the Lie’, his one sustained engagement with Arendt, Derrida criticizes the ‘absence’ of any reference to the ‘problematic of testimony, witnessing, or bearing witness’ in her work, and asserts that she was ‘not interested’ in what ‘distinguishes’ testimony from ‘proof’. This passage links Derrida’s reading of Arendt to a theme that concerns him throughout his later work, specifically the ‘affirmation’ or ‘act of faith’ that ostensibly conditions all human relations, and the possibility of (...) sociality in general. In this article, I claim not only that Arendt did address the problem of testimony or witnessing, and the difference between bearing witness and establishing proof, but also that her consideration of these issues represents an alternative to many of the arguments Derrida develops in his later work, especially his approach to responsibility and judgment, secrecy and memory, and the relation between the self and others. (shrink)

A qualitative analysis of societal silences, demonstrating how the unsaid directs social action and shapes individual and collective lives.

We often talk about knowledge being transmitted via testimony. This suggests a picture of testimony with striking similarities to memory. For instance, it is often assumed that neither is a generative source of knowledge: while the former transmits knowledge from one speaker to another, the latter preserves beliefs from one time to another. These considerations give rise to a stronger and a weaker thesis regarding the transmission of testimonial knowledge. The stronger thesis is that each speaker in a chain of (...) testimonial transmission must know that p in order to pass this knowledge to a hearer. The weaker thesis is that at least the first speaker must know that p in order for any hearer in the chain to come to know that p via testimony. I argue that both theses are false, and hence testimony, unlike memory, can be a generative source of knowledge. (shrink)

This article theorizes the politics of witnessing and grief in the context of the embodied experience of cows raised for dairy in the Pacific Northwestern United States. Bearing witness to the mundane features of dairy production and their impact on cows' physical and emotional worlds enables us to understand the violence of commodification and the political dimensions of witnessing the suffering of an Other. I argue that greater attention should be paid to the uneven hierarchies of power in the act (...) of bearing witness. Centering the animal as a subject of witnessing allows us to see with particular clarity the ethical ambiguities at work in witnessing while at the same time attending to the importance of witnessing-as-politics. My project here is to lay bare moments of emotional and physical turmoil not seen as such—the lives that are rendered ungrievable—and examine how we can and should respond to them. Thus, this article contributes to feminist conversations about witnessing, grief, and the political function of emotion. (shrink)

For at least the last twenty years, philosophers have attempted various strategies for reviving the Hegelian notion of recognition and redeploying it in discourses centered around social justice, including multiculturalism, feminism, race theory, and queer theory. Hegel’s master-slave dialectic may seem like an obvious place to start to analyze the oppression of one group by another. Given that Hegel is not literally talking about slaves, however, but a stage of consciousness, indeed the onset of self-consciousness, we might wonder why his (...) notion of recognition has become so important to these contemporary discourses on oppression. One reason is that the Hegelian model of recognition proposes that.. (shrink)

Han Kang's 2007 novel The Vegetarian, published in English translation in 2015, tells a story of one woman's refusal to eat meat. Yeong-hye's refusal comes from her desire to eschew the intersecting violence of patriarchy and carnism, which gradually reveals an underlying psychosis and drive towards self-attrition. Because of the central motifs of bodily transgression and self-abnegation in the novel, critics have compered Han Kang's Yeong-hye to Frantz Kafka's Gregor Samsa or the hunger artist. Just as the hunger artist seeks (...) seclusion from human sociality in the space of his vacuous interiority, so does Yeong-hye sequester herself from the gaze of others in her visions of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophistics, Rhetorics, and Performance; or, How to Really Do Things with WordsBarbara CassinTranslated by Andrew Goffey"How to do things with words?" How can you really do things with nothing but words? It seems to me that sophistics is in a way the paradigm of discourse that does things with words. Doubtless it is not a "performative" in Austin's sense of the word, although Austin's sense varies considerably in extension (...) and intension. But it is for real a discourse that operates, that transforms or creates the world, and has what I call a "world effect."Making the connection with performativity is all the more tempting, as epideixis, the word that serves in Plato to designate sophist discourse, cannot be rendered better than by "performance," on condition that "performance" is also understood in the sense of contemporary aesthetics as a "happening," an "event," an improvisation that requires engagement (Gorgias is the inventor of discourse ex tempore, according to Philostratus)—something like an "exploit."1"Performative" is Austin's own invention, acclimated to French by Austin himself at a colloquium held at Royaumont (Austin 1962); thereafter it was immediately adopted and popularized by Émile Benveniste (1966). "Performance" is a much older term, which, after ceaseless borrowings to and fro between English and French, has seen its meaning shifted and extended accordingly. Klein's Comprehensive Etymological Dictionary of English Language (Klein 1971) maintains that in English "performer" [End Page 349] was coined from Old French parfournir (from medieval Latin perfurnire) and/or parformer; in addition French borrowed the term at least three times, if the Dictionnaire culturel de la langue francaise (Rey 2005) is to be believed: in 1869, by analogy with the vocabulary of horse races to mean the "manner of developing a subject, of executing a work in public"; in 1953, to denote "individual result in the accomplishment of a task"; and in 1963, in the wake of Chomsky, to mean the opposite of "competence." In sum, the word is a fluid, bilingual term that bridges sport (performance in the sense of a record), technique (performance in the sense of the output of a machine), psychology (performance of a test), linguistics (performance/competence), and modern art (performance in the sense of happening).Let us start with the relationship between performance and performative. It is a way to interrogate the status of rhetorics, for which Austin, without naming it, reserves a somewhat unstable place between the "locutionary" on the one hand and the "illocutionary" or performative on the other, calling it the "perlocutionary" ("per" precisely as in "performative").2But it is not of Austin that I will speak. Austin is simply the contemporary frame of reference that informs us today: he "invented" the performative as such for us, by trying to isolate it. And he never hides the difficulty, the permeability, of his taxonomy. Just one citation is enough to show the difficulty. In the seventh lecture of the twelve that make up How to Do Things with Words (quite late then) he writes: "It is time [...] to make a fresh start on the problem. We want to reconsider more generally the senses in which to say something may be to do something, or in saying something we do something (and also perhaps to consider the different case in which by saying something we do something). Perhaps some clarification and definition may help us out of our tangle. For after all, 'doing something' is a very vague expression. When we issue any utterance whatsoever, are we not 'doing something'?" (1975, 91–92).In the framework of the generalized theory of speech acts, the difference between the locutionary, the illocutionary, and the perlocutionary has for a long time been in a "tangle". It is not so easy to differentiate between the three. All three are, precisely, "acts" of language, and without doubt the categories are at once abstract, slippery, and overlapping. The "locutionary" or "constative," a "normal" statement, is an utterance that "says something"; it is an "act of saying something" (1975, 100): "The cat is on the mat" has a meaning (both a "sense" and a "reference") and is susceptible of being either true or false. For... (shrink)