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This chapter spells out the notion of the espistemology of the secret. It unpacks the two main components of the epistemology of the secret of international law: the necessary presence of hidden, unknown, invisible content in the texts, practices, actors, effects, representations, past, etc. of international law (what is called in this book the necessity of secret content) and the necessity for international lawyers to reveal such hidden, unknown, invisible content (what is called in this book the necessity of revelation). The chapter distinguishes the epistemology of the secret of international law from the hermeneutics of suspicion, the idea of an ideology of secretism and the idea of an economy of secrets.
In this groundbreaking work, Jean d'Aspremont undertakes the first study of the epistemology of the secret of international law, which is a specific intellectual posture whereby international law is considered to be replete with secrets that international lawyers ought to reveal. In addition to arguing that the epistemology of the secret of international law is everywhere at work in international legal thought and practice, d'Aspremont demonstrates why this posture must be scrutinized, given how much it enables certain sayings, thoughts, perceptions and actions while simultaneously disabling others, making it complicit with the worst forms of capitalism, colonialism, racism, bourgeois ideology, phallocentrism, virilism and masculinism. This book should be read by anyone interested in how international law came to do what it does and why it must be rethought.
The second chapter touches more firmly on the philosophical debate and the arguments for human exceptionalism put forward over its course. The chapter puts Xanthus (the prophetic horse from Homer’s Iliad) as the first and prototypical speaking animal in the Western tradition in conversation with other famous speaking animals, including Plutarch’s speaking pig Grunter (Gryllus), a speaking rooster who claims to be a re-incarnation of the philosopher Pythagoras, and Kafka’s Red Peter. The chapter shows that the figure of the speaking animal is central to Western conceptions of the human. In classical antiquity, it features in stories that confirm the vertical relationship between humans (at the top) and animals (below). And yet, at the same time, right from the start of the conversation in the ancient world, the apparent anthropomorphism of the speaking animal was also used to critique the very idea of human exceptionalism. There is a direct line between how some modern animal fables point to man’s animal nature and the concept of the human explored in parts of the ancient evidence.
What makes us human? What, if anything, sets us apart from all other creatures? Ever since Charles Darwin's theory of evolution, the answer to these questions has pointed to our own intrinsic animal nature. Yet the idea that, in one way or another, our humanity is entangled with the non-human has a much longer and more venerable history. In the West, it goes all the way back to classical antiquity. This grippingly written and provocative book boldly reveals how the ancient world mobilised concepts of 'the animal' and 'animality' to conceive of the human in a variety of illuminating ways. Through ten stories about marvelous mythical beings – from the Trojan Horse to the Cyclops, and from Androcles' lion to the Minotaur – Julia Kindt unlocks fresh ways of thinking about humanity that extend from antiquity to the present and that ultimately challenge our understanding of who we really are.
Derrida's first reading of Heidegger in the long text dedicated to Emmanuel Lévinas and published in 1964 under the title "Violence and Metaphysics" shows that he understood the deep meaning of the Heideggerian question of being. Derrida attaches great importance to the passage, in the text that Heidegger dedicated in 1955 to Jünger where Heidegger puts a cross over the word "being" in order to avoid the almost ineradicable habit of seeing in being something subsistent and facing man: a gesture which Derrida sees as a way, in writing, of delimiting logocentrism and metaphysics of presence. Nietzsche is the theme of play that can be found in some of Heidegger's texts such as The Thing and The Principle of Reason. At the end of the first part of Of Grammatology Derrida stresses that the metaphysical concept of time cannot be used to describe the structure of the trace.
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