By Natsume Sōseki
What's love, and what's friendship? what's the volume of our accountability to ourselves and to others? Kokoro, signifying "the middle of things," examines those age-old questions by way of the fashionable world.
A trilogy of news that explores the very essence of loneliness, Kokoro opens with "Sensei and I," during which the narrator recounts his dating with an highbrow who dwells in isolation yet keeps a cosmopolitan worldview. "My mom and dad and I" brings the reader into the narrator's kin circle, and "Sensei and His Testament" positive factors the eponymous character's rationalization of ways he got here to reside a lifetime of solitude.
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But the point is, of course, Marx does likewise because the emancipatory, messianic affirmation is the very “spirit of Marxism” that its heir deconstruction receives and reaffirms. Nevertheless, no one would ever simply mistake a vigilant, deconstructive posture for its Marxist antecedent. That posture has thus fundamentally shifted something in the vigilant stance or gaze, turned it not only back upon itself in self-critique (which would be “in principle and explicitly open to its own transformation, re-evaluation, self-reinterpretation” ) but emphasized how it also pivots to watch for what may be coming from the other direction and the direction of the other.
And why is that? Does one have to be noble and brave? What if all the questions put to me about what I write came down to fleeing something I write? Okay. I give in . . (Points, 9–11) I have quoted at such length because this early interview about interviews, or meta-interview, introduces many of the notes Derrida as interviewee has continued to sound throughout the years, in vastly different circumstances where nevertheless the same or similar programs and expectations are in place. As one can hear, these are being neither overturned nor abandoned here, but questioned, interrogated, pointed out, with a gesture that might be compared to that of an actor who, before going on with his role in the play (“Okay.
11. Herman Melville, Moby-Dick, or the Whale (London and New York: Norton, 1967), p. 453. 12. To take just a few examples: “He applies an extraordinary vigilance, a faultless erudition to the measure of the desire of the unconscious” (on Roger Laporte); “With a vigilance one could probably say operates at every instant . ” (on Emmanuel Lévinas); “For example, to analyze a genre or discursive code, or the rules of a particular social arrangement, and to do so with his meticulousness and vigilance .