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Is it possible to understand literature and our relationship with language as the work of a blacksmith? In this talk, renowned Japanese philosopher Jun Fujita Hirose proposes an intellectual journey that starts from the biblical myth of Cain to explain two ways of inhabiting the world.

\n\n

Unlike settled social structures, “metallurgical peoples” (like the Romani people) have made movement and transformation their essence. Hirose will connect these ideas through the work of Franz Kafka and the attention given to it by Deleuze and Guattari in their famous text Toward a Minor Literature. In 1921, F. Kafka himself defined his own writing as “Gypsy literature” — an exercise in melting and forging language (in his case, the German language) to create something new.

\n\n

Introduction to the talk

\n\n

At the origin there is a bifurcation. Or rather, there is an origin split into two structures. It all starts with the biblical character of Cain. Based on his story, the Jews assume a superstructure in which the farmer Cain, from whom God turns his gaze, withdraws from divine presence yet receives a mark of protection. By contrast, the Romani adopt a base structure: by murdering the shepherd Abel, Cain deviates not only from pastoral nomadism, but also from agricultural sedentism, soaking the earth in blood, so that it will “no longer yield its fruits”. Thus, two categories of peoples emerge: the Jews enter into a diaspora as an “unlimited moratorium”, internalising God, with whom they have an infinite debt, for which they impose upon themselves an infinite payment. Likewise, the Romani enter into a metallurgical itinerancy. “Class-peoples” (as Karl Marx would put it) and metallurgical peoples. Romani blacksmiths are also musicians. The Book of Genesis itself recounts that the descendants of Cain invented metallurgy and music. On that point, Gilles Deleuze and Félix Guattari write in A Thousand Plateaus (1980): “If metallurgy has an essential relation with music, it is by virtue not only of the sounds of the forge but also of the tendency within both arts to bring into its own, beyond separate forms, a continuous development of form, and beyond variable matters, a continuous variation of matter.” Romani itinerancy follows “matter-flow”, whereas the Jewish diaspora bears the divine mark. However, this diaspora is not without Spinozist moments, in which the Jews draw lines of flight by escaping from the unlimited moratorium that constitutes each individual as “a slave to himself”. One such moment occurred in German literature by Jewish authors at the end of the Habsburg monarchy. In 1921, the same year that Hebrew was recognised as the official language in Palestine under the British Mandate, Franz Kafka took stock of that literature and concluded that it consisted of the collective invention of a slang language, conceived as the language of a new Jewish people to come. He called it “Zigeunerliteratur” or “Gypsy literature”, insofar as its authors, including Kafka himself, became Gypsy-like by extracting, melting, tempering, forging, and recasting “Papierdeutsch” (bureaucratic German).

\n\n

 

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 Born in Tokyo in 1971. Professor of French civilisation at Ryukoku University (Kyoto). Philosopher and film critic. In Spanish, he has published: Cine-capital. Cómo las imágenes devienen revolucionarios (Tinta Limón, expanded second edition, 2020), ¿Cómo imponer un límite absoluto al capitalismo? Filosofía política de Deleuze y Guattari (Tinta Limón, 2021), Para acabar con la mirada. Más allá del escopocentrismo (UC-Chile, 2023), and Los indios de Israel. Una lectura de los textos de Gilles Deleuze sobre Palestina (Tinta Limón,2026). He is preparing a new book about Néstor Perlongher, the leader of the Homosexual Liberation Front of Argentina.

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This programme, based on a series of monthly meetings, aims to open up a debate on these issues. Where does the list of the different layers that contemporary ecology should take into account begin and end?

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