This paper attempts to show that the status of music in Jacques Derrida's work offers a rigorous account of the figure of Self-Affection. If voice is the exemplary model of Self- Affection, as a space in which a Self ensures the stability of his presence, Derrida's development of music as an experience of an impossible appropriation suggests a restatement of the self-affective voice. Self-Affection, as the possibility of subjectivity, would no longer be a homogeneous space enclosed on itself, but rather a spacing which establishes and prevents at the same time the monologue of voice.
ASJC Scopus subject areas
- Visual Arts and Performing Arts
- Literature and Literary Theory