Strongly linked by their attention to "performatives" and the "as if," the essays show the necessity of thinking beyond the category of acts that are possible for a subject. Derrida argues forcefully that thought must engage with the im-possible, that is, the order of the unforeseeable event, the absolute future still to come. This acute awareness of the limits of performative programs informs the essays throughout and attunes them closely to events of a world undergoing "globalization. This inventive analysis is followed by "Typewriter Ribbon," which examines at length the famous lie recounted by Rousseau in his Confessions, when he perjured himself by accusing another of his own crime. For the university, the principle of truth remains at the core of its resistance; for psychoanalysis, there is the obligation to remain true to what may be, Derrida suggests, its specific insight: into psychic cruelty. Resistance to the sovereign cruelty of the death penalty is just one of the stakes indicated by the last essay, which is the text of a keynote address to the "States General of Psychoanalysis" held in Paris, July
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As Derrida points out, Rousseau is used as an example to show what de Man believes is true of writing and texts in general.
Materiality is the mechanical aspect of a text that resists being appropriated. Should I go back and re-read those texts? Do I have the time? The materiality is also that which can be mutilated or destroyed. Derrida asks how is it that de Man can see this, if it not there? It is obviously not merely nothing. Derrida seems to use such instances as a way to read de Man like de Man is reading Rousseau; Just as de Man claims Rousseau excuses and confesses, Derrida claims de Man makes similar performative gestures.
And here we need to re-read a passage cited above never, never can I get to the last word. Such would be a pure performative and not an event, not a work. Derrida is saying that, like Rousseau with Marion, used the first object presented to him. Being and Time would belong neither to science, nor to philosophy, nor to poetics. Such is perhaps the case for every work worthy of its name; there, what puts thinking into operation exceeds its own borders or what thinking itself intends to present of these borders.
The work exceeds itself. Posted by.
DERRIDA TYPEWRITER RIBBON PDF
Will we one day be able to, and in a single gesture, to join the thinking of the event to the thinking of the machine? Will we be able to think, what is called thinking, at one and the same time, both what is happening we call that an event and the calculable programming of an automatic repetition we call that a machine. For that, it would be necessary in the future but there will be no future except on this condition to think both the event and the machine as two compatible or even in-dissociable concepts. These two concepts appear to us to be antinomic because we conceive an event as something singular and non-repeatable.
Psyche: Inventions of the Other. Catherine Porter; repr. Peggy Kamuf; repr. Peggy Kamuf.
Derrida failed his first attempt at this exam, but passed it in his second try in The s is a decade of great achievement for this generation of French thinkers. In the early 60s, Derrida reads Heidegger and Levinas carefully. The recently published lecture course from —, Heidegger: The Question of Being and History, allows us to see how Derrida developed his questions to Heidegger.
Balar This book brings together for the first time five recent essays by Jacques Derrida, which advance his reflections on many issues: In other words, in the very moment, when silently I speak to myself, it must be the case that there is a miniscule hiatus differentiating me into the speaker and into the hearer. In deconstruction however, we reverse this, making appearance more valuable than essence. The materiality is also that which can be mutilated or destroyed. He died on October 8, Here we could resort to empiricist arguments in Hume for example that show that all knowledge of what we call essence depends on the experience of what appears. The Truth in Paintingtrs. Nevertheless, as Derrida constantly stresses, we cannot really identify the friend as such.