Derrida, an Egyptian: Chapter 5: Hegel and Derrida

In Chapter 5, Sloterdijk recognizes the move away from narrative and towards ritual and gesture (the handshake) as being efficacious, but ultimately cops out towards the idiom of the museum in Chapter 6 using my professor, Boris Gay.

If you watch/read my Ritual Traces series, you will notice that I am very critical of this colonial institution; although it shows many promises, it is ultimately a failed pedagogical artifice because of it's tainted colonial history.
Just search "Museum".

Fragment from the text:

It is unnecessary to show here how de construction
treats these claims in detail . The basic
operation of the third dream interpretation is clear
enough: it consists in using minimally invasive
gestures to relate the text of metaphysics to its
inner dream drift, the delirium of unimpeded self appropriation,
and show its inevitable failure . It is
sufficient if it proves the impediment that hinders
this fulfilment fantasy. Therefore Derrida must
develop a passionate interest in the Egyptian
pyramid, for it constitutes the archetype of the
cumbersome objects that cannot be taken along
by the spirit on its return to itself. But even Hegel,
the thinker in the age of light and seemingly surmountable
signs, suffers the fate of being hindered
in his final closure of the circle by a cumbersome obstacle.
Even if the spirit's path through the cultures
equals a circular exodus on which excessively
heavy objects are left behind until the
wandering spirit is sufficiently light, reflexive and
transparent to feel ready to return to the start,
there is one printed book left that, despite its
handiness, still possesses too much externality and
contrariness to be passed over entirely. Even as a
paperback, the Phenomenology of Spirit is still an
inert and opaque thing that denies its own content.
As soon as someone points their finger at its
cover and black letters, the celebration is spoiled
for good.