Resumen
In The Animal That Therefore I Am, Derrida wonders whether it would be possible to think of the discourse of the animal in musical terms, and if so, whether one could change the key, or the tone of the music, by inserting a ?flat??a ?blue note? in other words. The task would be to render audible ?an unheard language or music? that would be ?somewhat inhuman? but a language nonetheless. This essay pursues this intriguing proposition by means of a reading Kafka?s ?Josephine, the Singer or the Mouse Folk,? paying careful attention to the controversy regarding the status of Josephine?s vocalizations, which, moreover, is mirrored in the scientific discourse surrounding the ultrasonic songs of mice. What is at stake in rendering this inhuman music audible? And furthermore, how might we relate this debate to questions of narrative and above all to the concept of narrative ?voice?? I explore these and related questions via a series of theoretical waypoints, including Paul Sheehan, Giorgio Agamben, Gilles Deleuze, Jacques Derrida, and Jean-Luc Nancy, with a view to establishing some of the critical parameters of an ?animal narratology,? and of zoopoetics more generally.