ABSTRACT

This article offers a reading of Frantz Fanon in relation to the word ‘I’, perhaps the privileged term for the reflection on sociality and form in the European, colonial tradition. It considers the refusal and advance of a coherent subject of knowledge and social form in Black Skin, White Masks (1952) and its reiteration in The Wretched of the Earth (1961). Through a reading of Sylvia Wynter's interpretation of Fanon, and in a close reading of Descartes’ Discourse on the Method (1637) in relation to Denise Ferriera da Silva's Toward a Global Idea of Race (2007), Jacques Derrida's The Animal that Therefore I Am (2006), and Martin Heidegger's ‘The Age of the World Picture’ (1938), I argue that Fanon reiterates the forms he wishes to contest, and that this double gesture suggests his work not only creates an insurgency but that it insurges: it overflows the privileged categories for philosophical reflection and sociality, and in doing so enacts the practice of decolonisation it also promises. This article argues that Fanon discombobulates the temporal terms he also presumes, and that he therefore gives us a practice of struggle, and a sociality, that occurs without a recognisable subject, time, form or sense.

摘要

本文提供了有关弗朗茨·法农（Frantz Fanon）与“我”一词的相关阅读，“我”一词也许是反映欧洲殖民传统中社会性和形式的特权术语。它考虑了《黑色皮肤，白色面具》（1952）中知识和社会形式的连贯主题的拒绝和发展，并在《地球的悲惨》（1961）中重申了这一主题。通过阅读西尔维亚·温特（Sylvia Wynter）对法农（Fonon）的解释，以及仔细阅读笛卡尔（Descartes）关于方法的论述（1637）与丹尼斯·费里拉·达席尔瓦（Denise Ferriera da Silva）的《迈向全球种族观念》（2007），雅克·德里达（Jacques Derrida）的《因此我成为动物》（2006），以及马丁·海德格尔（Martin Heidegger）的《世界图片时代》（The Age of the World Picture，1938），我认为法农重申了他希望竞争的形式，这种双重姿态表明他的作品不仅制造了叛乱，而且鼓舞了它：溢出特权类别，进行哲学思考和社会交往，并以此作为非殖民化的实践，这也是有希望的。本文认为，法农（Fonon）破坏了他也假定的时间性术语，因此他为我们提供了一种奋斗实践和一种社交性，而这种实践是在没有可识别的主题，时间，形式或意义的情况下发生的。