Differance Research Papers - Academia.edu (original) (raw)

Enclosed is the syllabus and course notes from the upper division course I teach in PostModernism and Post-Marxist Critical Theory. It occurs to me that some of these essays--ranging from Horkheimer and Adorno, Baudrillard, Foucault, and... more

Enclosed is the syllabus and course notes from the upper division course I teach in PostModernism and Post-Marxist Critical Theory. It occurs to me that some of these essays--ranging from Horkheimer and Adorno, Baudrillard, Foucault, and the feminist post-modern theorist Donna Haraway may offer some insight and some tools for comprehending the dark times in which we live. While these essays may not be directly aimed at understanding the rise of phenomena like the Alt-Right, toxic masculinity, and particularly violent forms of patriarchy, I think they can show us something about the ideological trends that set us on out current morally troubling path.

La critique élaborée ici porte sur trois sujets : a) il y a des récits qui nous viennent dans la temporalité et qui portent des relations inégales entre le Nord et le Sud globaux ; b) la world music n’a pas une forme esthétique définie... more

La critique élaborée ici porte sur trois sujets : a) il
y a des récits qui nous viennent dans la temporalité et
qui portent des relations inégales entre le Nord et le Sud
globaux ; b) la world music n’a pas une forme esthétique
définie pour fonctionner comme un genre musical, mais
fonctionne comme un signifiant ou écriture (un gramme)
pour contenir des singularités dans un champ homogène ;
et c) l’analyse sémiotique d’oeuvres des artistes Bantu
Continua Uhuru Consciousness (BCUC) et M.I.A. pour
identifier les éléments sonores de différentes frontières
culturelles et le sens politique de la révision narrative qu’ils
assument.

RESUMEN: La deconstrucción irrumpe en el pensamiento de la escritura, como una escritura de la escritura, que por lo pronto obliga a otra lectura: no ya imantada a la comprensión hermenéutica del sentido que quiere-decir un discurso, a... more

RESUMEN:
La deconstrucción irrumpe en el pensamiento de la escritura, como una escritura de la escritura, que por lo pronto obliga a otra lectura: no ya imantada a la comprensión hermenéutica del sentido que quiere-decir un discurso, a su fondo de ilegibilidad y de deseo de idioma–, a las fuerzas no intencionales inscritas en los sistemas significantes de un discurso que hacen de éste propiamente un “texto”, es decir, algo que por su propia naturaleza o por su propia ley se resiste a ser comprendido como expresión de un sentido, o más bien “expone” éste como efecto –y con su legalidad y necesidad específica– de una ilusión para la conciencia.
Dr. Adolfo Vásquez Rocca
/derridadeconstruccion.htm
VERSIONES [Ediciones]
1. VÁSQUEZ ROCCA, Adolfo, “DERRIDA: DECONSTRUCCIÓN, DIFFÉRANCE Y DISEMINACIÓN; UNA HISTORIA DE PARÁSITOS, HUELLAS Y ESPECTROS”. En Revista OBSERVACIONES FILOSÓFICAS - Nº 19 / 2014 – ISSN 0718-3712. http://www.observacionesfilosoficas.net/derridadeconstruccion.htm
2. VÁSQUEZ ROCCA, Adolfo, “DERRIDA : DECONSTRUCTION, DIFFERANCE AND SPREAD; A HISTORY OF PARASITES, FOOTPRINTS AND SPECTRA”, En CASA LITTERAE, Universidad de Concepción, Abril de 2015,
http://www.casalitterae.cl/index.php/estadistica/83-derrida-deconstruction-differance-and-spread-a-history-of-parasites-footprints-and-spectra
3. VÁSQUEZ ROCCA, Adolfo, “DERRIDA: DECONSTRUCCIÓN, DIFFÉRANCE Y DISEMINACIÓN; UNA HISTORIA DE PARÁSITOS, HUELLAS Y ESPECTROS”, En REDAZIONE ROSEBUD –Critica, Scrittura, Giornalismo– Enero 2015, Dublin, Ireland, http://rinabrundu.com/2015/01/05/derrida-deconstruccion-differance-y-diseminacion-una-historia-de-parasitos-huellas-y-espectros/
ADOLFO VÁSQUEZ ROCCA D.Phil

Vites, Şanzuman, Tasarım, Arıza Kodları, Şemalar, Megep

Ausgehend vom performativen Verständnis von Textualität bei Jacques Derrida (unhörbare, nur lesbare différance; textuelle Spur als "Störung der Ordnung"; Temporalität des Futur antérieur als Ausdruck von Wagnis, Bekenntnis, Antwort und... more

Ausgehend vom performativen Verständnis von Textualität bei Jacques Derrida (unhörbare, nur lesbare différance; textuelle Spur als "Störung der Ordnung"; Temporalität des Futur antérieur als Ausdruck von Wagnis, Bekenntnis, Antwort und Verantwortung) wird gezeigt, inwiefern Texte nicht einfach "entziffert / decodiert", sondern daraufhin "gelesen" werden müssen, was "in ihnen zum Ausdruck kommt". Die dekonstruktive Aufmerksamkeit auf semantische Brüche sowie auf narrative und grammatische "Inszenierungen" eröffnet in den monotheistischen Schriften der biblischen Tradition wie auch des Qur'an den Horizont zur Wahrnehmung textueller Aussagen als gewagtes Zeugnis von dem, was sich dem beschreibenden Zugriff entzieht. Der Text verantwortet sich so gegenüber dem Leser - und der Leser steht in der Verantwortung, dem Sagen des Textes in seiner nachträglichen Lektüre erneut "Stimme zu verleihen".

Because Dasein, as conceived by Heidegger, is inherently temporal, the "who" of Dasein can never be defined simply in terms of a (self-)present identity but must have the character of what Derrida calls "differance." Dasein's... more

Because Dasein, as conceived by Heidegger, is inherently temporal, the "who" of Dasein can never be defined simply in terms of a (self-)present identity but must have the character of what Derrida calls "differance." Dasein's authenticity, then, must be an embracing of this, its character as differance. This means that the "self" is "neither a substance nor a subject" but a resolution. The anticipatory resoluteness of authenticity, however, is a unique kind of resolve: it is the resolve to be open to transformation. For that reason, Dasein's proper self-appropriation--authenticity--is found precisely in its inherent inappropriability. Because Dasein is always being-in-the-world, the openness of its own "who" is equally an openness to being's "what." Dasein's authenticity is nothing other than the enactment of the question of the meaning of being.

The aim of this paper is to offer a critical overview of Derrida’s deconstruction of Western Metaphysics, concentrating in particular on his early texts (e.g. Of Grammatology, Writing and Difference, Dissemination, etc.) during the 1960’s... more

The aim of this paper is to offer a critical overview of Derrida’s deconstruction of Western Metaphysics, concentrating in particular on his early texts (e.g. Of Grammatology, Writing and Difference, Dissemination, etc.) during the 1960’s and 1970’s. Besides the discussion of key Derridian concepts as “logocentrism” or “différance”, the paper approaches deconstruction as enacting a process of “double reading”. This double reading commences with an initial stage or level which seeks to reconstruct a text’s authorial intention or its vouloir dire. This initial level then prepares the text, through identification of authorial or textual intention, for the second stage or level. At this second stage or level, which is the passage to deconstructive reading per se, the blind spots or aporias of the text are set forth.

Der Hauptteil des Buches zeichnet in einem chronologischen Close-Reading die Entwicklung des Derridaschen Werkes und die Bedeutung seiner zentralen Termini – différance, Spur, Schrift – nach. Zugleich wird dabei die performative Struktur... more

Der Hauptteil des Buches zeichnet in einem chronologischen Close-Reading die Entwicklung des Derridaschen Werkes und die Bedeutung seiner zentralen Termini – différance, Spur, Schrift – nach. Zugleich wird dabei die performative Struktur seines Denkens und Schreibens aufgedeckt, die für das Verständnis unverzichtbar sind: die Nachträglichkeit der Einführung des Terminus »différance«, die Bedeutung des »donc« und des »vielleicht«, des Sich-selbst-riskierens-im-Nichts-Sagen-Wollen sowie der Rede vom »Unmöglichen« im Kontext von Gerechtigkeit und Politik.
Eingebettet sind diese Lektüren in den Horizont einer notwendigen Neubestimmung der Grundlagen und Möglichkeiten (fundamental-)theologischen Sprechens.

Resumen: La deconstrucción irrumpe en el pensamiento de la escritura, como una escritura de la escritura, que por lo pronto obliga a otra lectura: no ya imantada a la comprensión hermenéutica del sentido que quiere-decir un discurso, a... more

Resumen:
La deconstrucción irrumpe en el pensamiento de la escritura, como una escritura de la escritura, que por lo pronto obliga a otra lectura: no ya imantada a la comprensión hermenéutica del sentido que quiere-decir un discurso, a su fondo de ilegibilidad y de deseo de idioma–, a las fuerzas no intencionales inscritas en los sistemas significantes de un discurso que hacen de éste propiamente un “texto”, es decir, algo que por su propia naturaleza o por su propia ley se resiste a ser comprendido como expresión de un sentido, o más bien “expone” éste como efecto –y con su legalidad y necesidad específica– de una ilusión para la conciencia.
Dr. Adolfo Vásquez Rocca
Abstract
Deconstruction breaks at the thought of writing a script writing, that for now forces another read: no longer magnetized to the hermeneutic understanding of meaning he wants-make a speech, his background and desire illegibility of language-, to registered unintentional forces signifying systems of discourse that make this really a "text", ie, something that by its nature or by its own law refuses to be understood as an expression of sense, or rather "exposed" as-and this effect with its legality and necessity of an illusion specifically for consciousness.
Dr. Adolfo Vásquez Rocca

Eine Lektüre und Interpretation der Struktur und Bedeutung von »La carte postale« (1980) – insbesondere der 52 Leerzeichen, die die postalischen Sendungen prägen – im Kontext von Derridas Gesamtwerk. Mit einer Rekonstruktion der... more

Eine Lektüre und Interpretation der Struktur und Bedeutung von »La carte postale« (1980) – insbesondere der 52 Leerzeichen, die die postalischen Sendungen prägen – im Kontext von Derridas Gesamtwerk. Mit einer Rekonstruktion der Entstehung und der Konsequenzen von Derridas Rede von einer différance (mit a), sowie einer Interpretation seiner Bezugnahmen auf das jüdische Denken und die Beschneidung.

Zeitgenössische philosophische Texte haben oftmals einen performativen Charakter, der gerade nicht als »Stil« zu bezeichnen, sondern ausdrücklich (mit-)gelesen werden muss, um die Aussage zu verstehen. Der Artikel zeichnet nicht nur... more

Zeitgenössische philosophische Texte haben oftmals einen performativen Charakter, der gerade nicht als »Stil« zu bezeichnen, sondern ausdrücklich (mit-)gelesen werden muss, um die Aussage zu verstehen. Der Artikel zeichnet nicht nur mehrere zentrale Schrift-Gesten bei Martin Heidegger, Jacques Derrida, Emmanuel Levinas, Jean-François Lyotard u.a. nach, sondern beschreibt zugleich in einer »Phänomenologie des Lesens« die Notwendigkeit dieser Ausdrucksformen für ein gegenwärtiges Denken, das auf metaphysische Ordnungen und Sicherheiten verzichten muss.

Ao criar a psicanálise, a partir do final do século XIX, Freud dedicouse a explicitar os fundamentos epistemológicos em que alicerçava sua pretensão de haver criado uma nova ciência, um novo ramo das ciências naturais, com as quais ela... more

Ao criar a psicanálise, a partir do final do século XIX, Freud dedicouse a explicitar os fundamentos epistemológicos em que alicerçava sua pretensão de haver criado uma nova ciência, um novo ramo das ciências naturais, com as quais ela compartilhava, portanto, tanto estes fundamentos epistemológicos quanto sua Weltanschauung. Em meados do século XX, e agora a partir da crítica à cientificidade da psicanálise provinda especialmente da epistemologia neopositivista, coube a Jacques Lacan retomar a questão da epistemologia da psicanálise para alicerçá-la sobre outros fundamentos. A presente obra procura evidenciar que, após a abordagem lacaniana do problema, vem de fora da psicanálise, mais precisamente da filosofia de Jacques Derrida, uma maneira original de conceber a psicanálise. Para Derrida, a psicanálise não apenas não cabe toda dentro dos limites de uma ciência regional, como vem a constituir, em harmonia com a grafemática derridiana, uma maneira original de pensar a constituição da realidade em geral. O texto percorre os caminhos da crítica derridiana à epistemologia freudiana e à psicanálise estruturalista lacaniana dos anos 50 do século XX, até encontrar-se com o pensamento contemporâneo que busca, no último Lacan pelo campo da psicanálise, e em Alain Badiou pelo campo da filosofia, a fundamentação destas no campo da formalização matemática. Além de permitir pensar uma nova epistemologia da psicanálise alicerçada em sua filosofia, a leitura acompanha Derrida ao apontar para os desafiadores rumos de uma psicanálise por vir.

Vor dem Hintergrund der so oft missverstandenen Rede vom "Tod des Subjekts" zeichnet der Beitrag das "andere" Subjektverständnis nach, das auf unterschiedliche Weise mit und in den Ansätzen von Jacques Derrida und Alain Badiou grundgelegt... more

Vor dem Hintergrund der so oft missverstandenen Rede vom "Tod des Subjekts" zeichnet der Beitrag das "andere" Subjektverständnis nach, das auf unterschiedliche Weise mit und in den Ansätzen von Jacques Derrida und Alain Badiou grundgelegt wird. Das "Neue" besteht dabei vor allem in der Erkenntnis der "Nachträglichkeit" der Subjektwerdung. Das in diesem Sinn nicht mehr "souveräne" Subjekt erhält seine Eigenständigkeit somit erst in der Formulierung und politischen Gestaltung eines nachträglichen Zeugnis-gebens von einem Ereignis bzw. einem Anspruch, der zum Handeln herausfodert.

In a recent article, Martin McQuillan has inaugurated a vigorous Derridean critique of a “violent tone” that has recently arisen in continental philosophy, exemplified by Slavoj Žižek’s attempt to retrieve Robespierre’s notion of... more

In a recent article, Martin McQuillan has inaugurated a vigorous Derridean critique of a “violent tone” that has recently arisen in continental philosophy, exemplified by Slavoj Žižek’s attempt to retrieve Robespierre’s notion of “Terror." This article sets out to complicate such critique, opening a new perspective on the Derrida-Žižek debate on the question of politics. In particular, it examines their respective approaches to difference and violence as differing responses to a shared problematic of constructing a consistent (immanent) politics within the horizon of a finite world. It proceeds by elaborating Žižek’s critique of Derridean deconstruction, highlighting how Derrida’s attempt to minimise violence via maximal openness to difference, within the horizon of the future-to-come, inadvertently reinscribes a minimal but problematic ontotheological trace which ironically circumscribes deconstructive openness to difference. The article goes on to examine how Žižek’s alternative construal of a purified violence and (Hegelian) self-difference ends up repeating in somewhat different terms these same problematic features of Derrida’s writings. The article concludes by arguing that each approach requires a theoretically-integrated ethos of ‘becoming other’ in which the unavoidable theoretical anticipation of difference (and the risk of invocation of the ontotheological) is ruptured by the actual encounter with difference.

The concept of “cultural identity” has gradually replaced such discredited concepts as “race”, “ethnicity”, even “nationality” in the conservative political discourse of recent decades which conceives, represents and performs culture as a... more

The concept of “cultural identity” has gradually replaced such discredited concepts as “race”, “ethnicity”, even “nationality” in the conservative political discourse of recent decades which conceives, represents and performs culture as a closed system with clear-cut boundaries which must be defended from contamination.
The article employs the theories of Derrida and Lotman as useful tools for deconstructing this understanding of cultural identity, which has recently become an ideological justification for socio-political conflicts. In fact, their theories spring from a thorough critique of the kind of internalizing self-enclosure which allowed Saussure to delimit and describe langue as the object of linguistics. The article identifies and compares the elements of this critique, focusing on Derrida’s and Lotman’s concepts of “mirror structure”, “binarism”, “numerousness”, “textuality” and “semiosphere”.
An understanding of mediation emerges which is not reducible to any kind of definitive acquisition, thereby frustrating the pretences of identity, constantly dislocating and deferring any attempt at semiotic self-enclosure. My comparison suggests that Lotman’s “translation of the untranslatable” (or “dialogue”) and Derrida’s différance can be con- sidered analogous descriptions of this problematic kind of mediation. The (de)construc- tive nature of culture, as described by Lotman and Derrida, challenges any attempt to view cultural formations as sources of rigid and irreducible identities or differences.

Der Vortrag zeichnet Derridas »Entdeckung« der différance mit a nach, die dieser erst nachträglich in bereits publizierte Texte eingetragen hatte, um damit (auf performative Weise) die besondere Performativität, die mit dem Verständnis... more

Der Vortrag zeichnet Derridas »Entdeckung« der différance mit a nach, die dieser erst nachträglich in bereits publizierte Texte eingetragen hatte, um damit (auf performative Weise) die besondere Performativität, die mit dem Verständnis von Textualität - im Unterschied zur Schrift als Aufzeichnungsmedium - verbunden ist, lesbar werden zu lassen. Eng damit verbunden sind auch auch andere performative Gesten in Derridas Werk: insbesondere das Sprechen im Modus der Nachträglichkeit, die mit dem frz. "donc" ausgedrückt wird, sowie der temporale Modus des futur antérieur bzw. des deutschen "viel-leicht" ("es kann sehr leicht sein, dass …"), die vor allem Derridas politische und politik-relevante Texte prägen.

No abstract. First paragraph: In this article, I would like to pursue the question of whether it is possible to understand Derridean ethics in terms of space rather than time. More precisely, I would like to ask whether what Derrida... more

No abstract. First paragraph: In this article, I would like to pursue the question of whether it is possible to understand Derridean ethics in terms of space rather than time. More precisely, I would like to ask whether what Derrida proposes as an ethics (and exactly what that is will have to be explained) falls under the general heading of future-oriented, ‘eschatological’ or ‘messianic’, ethics or whether it can be understood in terms of presence, more specifically of the demand to cohabit here and now in the world.

Vortrag zur Entdeckung und Bedeutung performativen Textualität – auf Einladung der Performance-Künstlerin LILO NEIN, gem. mit der Choreographin und Performerin LISA HINTERREITHNER: Im Zentrum der Partitur von Lilo Nein stand das... more

Vortrag zur Entdeckung und Bedeutung performativen Textualität – auf Einladung der Performance-Künstlerin LILO NEIN, gem. mit der Choreographin und Performerin LISA HINTERREITHNER:
Im Zentrum der Partitur von Lilo Nein stand das Begehren, das Text und Performance aneinander bindet.
#1: Der Text ist keine Aufzeichnung: Die Entdeckung der Textualität – eine späte Erkenntnis in der Kulturgeschichte der Schrift
#2: Jacques Derridas Performance der différance
#3: Kein Text ohne Performance: Von Griechen, Juden und Römern
#4: Der Ort des Textes: Wo genau befindet sich der Text?

Étienne Balibar, Nous, citoyens d’Europe ? Les frontières, l’État, le peuple (Paris, La Découverte, 2001)

Luciano Berio's Sinfonia, premiered in 1968, is probably the most interpreted and analyzed postmodernist work in the last decades of the twentieth century. However, research and theoretical analysis have rarely transcended the purely... more

Luciano Berio's Sinfonia, premiered in 1968, is probably the most interpreted and analyzed postmodernist work in the last decades of the twentieth century. However, research and theoretical analysis have rarely transcended the purely musical aspect of this work. Beyond an analysis of the composer's language and a meticulous description of the many literary and musical references which underlie its five movements, there are no studies which deal with the work's complex discursivity from a semiologic perspective. Using the post-structuralist focus of Jacques Derrida's concept of différance, this essay attempts to address the semantic implications by the narrow relationship between Samuel Beckett's novel, The Unnamable, and the Scherzo from Mahler's Second Symphony throughout the third movement of the Sinfonia. The movement’s eminently intertextual character undeniably entails a reterritorialization of meaning.

O artigo discute o processo de hibridização e as múltiplas leituras do que é ser ou tornar-se híbrido. A abordagem inicia-se por Jacques Derrida, com a discussão a respeito da natureza dividida do signo, la différance, e continua... more

O artigo discute o processo de hibridização e as múltiplas
leituras do que é ser ou tornar-se híbrido. A abordagem
inicia-se por Jacques Derrida, com a discussão a respeito
da natureza dividida do signo, la différance, e continua
pelos entendimentos consensuais (e alguns dissensos)
para teóricos como Stuart Hall, Homi Bhabha, Martín-
Barbero e García Canclini, localizando, sempre que
possível, as reflexões no contexto da América Latina.
Conclui-se que a hibridização é potencialmente criativa e
ao mesmo tempo conturbada, não se limita às fronteiras
geográficas, linguísticas ou de outra ordem, e é fluida,
desestabilizadora, ambígua e quase sempre contraditória.

Derrida’s philosophy starts with a law stated in The Problem of Genesis in Husserl’s Philosophy: “No analysis could present, make present in its phenomenon or reduce to the point-like nature of the element, instantaneous and identical to... more

Derrida’s philosophy starts with a law stated in The Problem of
Genesis in Husserl’s Philosophy: “No analysis could present, make
present in its phenomenon or reduce to the point-like nature of
the element, instantaneous and identical to itself.”1 This “law” is
derived from a critique of Husserl’s transcendental
phenomenology, which, according to Derrida, demonstrates the
impossibility of reducing phenomena to a single origin. In this
paper, I argue that Derrida’s critique is based on an omission of
the Bernau Manuscripts, within which Husserl explores the
constitution of time consciousness that is not centred at a pointlike
present but rather at the concatenation of Hyle. This theory
surpasses the presentism in Phenomenology of the Consciousness
of Internal Time and hence becomes a potential response to
Derrida’s criticism.

Abstract: The article examines Polish translations of the Derridian term différance. Polish philosophical discourse uses the following renditions of différance: róż (ni (c) oś) ć by Bogdan Banasiak, różNICa by Tadeusz Sławek,... more

Abstract: The article examines Polish translations of the Derridian term différance. Polish philosophical discourse uses the following renditions of différance: róż (ni (c) oś) ć by Bogdan Banasiak, różNICa by Tadeusz Sławek, gra-na-zwłokę-o-różnicę by Stanisław Cichowicz and the most popular: różnia by Joanna Skoczylas. Should a mistake be deliberately committed in Polish, as it was done in the original? Or should it be corrected, and if so–how to explain the correction?

L'article se propose de questionner les aprioris de la « société de surveillance » contemporaine, notion popularisée par Michel Foucault, et de réfléchir sur le « secret ». L'image actuelle de la politique de la surveillance se pense en... more

L'article se propose de questionner les aprioris de la « société de surveillance » contemporaine, notion popularisée par Michel Foucault, et de réfléchir sur le « secret ». L'image actuelle de la politique de la surveillance se pense en fonction de l'opposition visibilité/invisibilité : les puissants demandent la visibilité du petit peuple, chacun de ses gestes devant pouvoir être enregistré pour contrer toute manifestation de résistance. On remarque trop peu souvent que le contre-pouvoir démocratique propose exactement la même idée : que le pouvoir se rende toujours plus transparent. Entre le pouvoir et le contrepouvoir de la vision, nous proposons une réflexion sur l'ouïe à partir des quelques propositions de Jacques Derrida sur le secret. Les indécidables derridiens comme différance et schibboleth, ainsi que la figure du marrane, sont réarticulés pour repenser un certain impouvoir du secret, un secret sans code pour notre temps.

Eine Lektüre der Einleitung zu Derridas »Politiques de l'amitie«, sowie einiger zentraler Elemente seines Denkens – der vielschichtigen Einführung und zentralen Bedeutung der »différance«, der Rede im Modus des »Vielleicht« und des »futur... more

Eine Lektüre der Einleitung zu Derridas »Politiques de l'amitie«, sowie einiger zentraler Elemente seines Denkens – der vielschichtigen Einführung und zentralen Bedeutung der »différance«, der Rede im Modus des »Vielleicht« und des »futur antérieur«.

Das zeitgenössische phänomenologische oder phänomenologisch inspirierte Denken hat sich intensiv mit Brüchen, Rissen und Diskontinuitäten auseinandergesetzt, die sich in ein traditionelles Verständnis von Metaphysik und Ontologie nicht... more

Das zeitgenössische phänomenologische oder phänomenologisch inspirierte Denken hat sich intensiv mit Brüchen, Rissen und Diskontinuitäten auseinandergesetzt, die sich in ein traditionelles Verständnis von Metaphysik und Ontologie nicht mehr bruchlos integrieren lassen und einen sich der Chronologie entziehenden Begriff von Zeit und Zeitlichkeit evozieren. Ausgehend von dieser Temporalität des Risses, des Bruches, der Aufspreizung, des Ereignisses, der Alterität oder auch des Traumas wird in diesem Artikel die Frage nach dem spezifischen »Ort« dieses Einbruchs gestellt. Insbesondere Derridas différance, die Bedeutung der Spur und des Dritten bei Levinas, sowie das "Datum" und die Verwendung des "vielleicht" im Werk Paul Celans bilden Ausgangspunkte für die Thematisierung des »Ortes der Zeit«.

RESUMEN - ABSTRACT Se abordarán las bases del perspectivismo de Nietzsche, así como uno de sus supuestos fundamentales: el carácter ficcional de la realidad. De igual forma se revisará la concepción antropológica según la cual el hombre... more

RESUMEN - ABSTRACT
Se abordarán las bases del perspectivismo de Nietzsche, así como uno de sus supuestos fundamentales: el carácter ficcional de la realidad. De igual forma se revisará la concepción antropológica según la cual el hombre es un animal de ficciones para el cual conocer es simplemente trabajar con su metáfora favorita, siendo así que la construcción de metáforas es el instinto fundamental del hombre. En relación con lo anterior se expondrá la conveniencia sugerida por Derrida de elaborar una historia de la escritura asumiendo la encarnadura del propio escritor en su obra, asumiendo que escribir es escribir-se, a la vez interpretarse y constituirse en una tarea que compromete el sentido del hombre mismo que la lleva a cabo.
Dr. Adolfo Vásquez Rocca

Buddhism and Postmodernity is a response to some of the questions that have emerged in the process of Buddhism's encounters with modernity and the West. Jin Y. Park broadly outlines these questions as follows: first, why are the... more

Buddhism and Postmodernity is a response to some of the questions that have emerged in the process of Buddhism's encounters with modernity and the West. Jin Y. Park broadly outlines these questions as follows: first, why are the interpretations and evaluations of Buddhism so different in Europe (in the nineteenth century), in the United States (in the twentieth century), and in traditional Asia; second, why does Zen Buddhism, which offers a radically egalitarian vision, maintain a strongly authoritarian leadership; and third, what ethical paradigm can be drawn from the Buddhist-postmodern form of philosophy? Park argues that, as unrelated as these questions may seem, the issues that have generated them are related to perennial philosophical themes of identity, institutional power, and ethics, respectively. Each of these themes constitutes one section of Buddhism and Postmodernity. Park discusses the three issues in the book through the exploration of the Buddhist concepts of self and others, language and thinking, and universality and particularities. Most of this discussion is drawn from the East Asian Buddhist traditions of Zen and Huayan Buddhism in connection with the Continental philosophies of postmodernism, hermeneutics, and deconstruction. Self-critical from both the Buddhist and Western philosophical perspectives, Buddhism and Postmodernity points the reader toward a new understanding of Buddhist philosophy and offers a Buddhist-postmodern ethical paradigm that challenges normative ethics of metaphysical traditions.

Esposizione di senso e acquisizione del senso della différance non sono per nulla due affinità immediate. Si esprime l'esigenza di dare un senso il più tagliente possibile alla différance derridiana presente in 'Margini'

Der Beitrag zeigt auf, wie in den Werken von Levinas, Derrida und Badiou eine fundierte Kritik der Grundlagen bzw. Ausdrucksweise klassischer Theologie vorgetragen wird. Insbesondere in Levinas' "Autrement qu'être«, in Derridas... more

Der Beitrag zeigt auf, wie in den Werken von Levinas, Derrida und Badiou eine fundierte Kritik der Grundlagen bzw. Ausdrucksweise klassischer Theologie vorgetragen wird. Insbesondere in Levinas' "Autrement qu'être«, in Derridas Verständnis von différance und Textualität und in Badious Ereignis-Denken werden die metaphysischen Ansätze traditioneller Theologie als ungenügend entlarvt. Zugleich mit dieser Kritik wird jedoch ein Denken entworfen, auf das sich eine zeitgemäße, sich von den biblischen Texttraditionen her verstehende Systematische Theologie stützen könnte. Die philosophischen Autoren entwerfen natürlich keine solche Theologie, TheologInnen aber können sich fragen, ob sie in diesen Ansätzen nicht eine angemessenere Sprache für ihr eigenes Sprechen finden würden.

La Sinfonia de Luciano Berio, créée en 1968, est, probablement, l’œuvre postmoderniste la plus interprétée et analysée de ces dernières décennies du XXème siècle. Cependant, les recherches et les analyses théoriques réalisées transcendent... more

La Sinfonia de Luciano Berio, créée en 1968, est, probablement, l’œuvre postmoderniste la plus interprétée et analysée de ces dernières décennies du XXème siècle. Cependant, les recherches et les analyses théoriques réalisées transcendent rarement l’aspect purement musical de cette œuvre. Au delà du langage du compositeur et d’une description minutieuse des nombreuses références musicales sous-jacentes tout au long des cinq mouvements, il n’y a pas, à mon avis, des travaux qui approfondissent sa complexe discursivité à partir d’une approche sémiologique. Ce travail prétend aborder, du point de vue poststructuraliste et, spécifiquement à partir de la notion de différance proposée par Jacques Derrida, les implications sémantiques qui se dégagent de l’étroite relation entre le texte de L’Innommable de Beckett et le scherzo de la deuxième symphonie de Mahler tout au long du troisième mouvement de la Sinfonia, dont son caractère, éminemment intertextuel, implique nécessairement une reterritorialisation du sens.

Although a scripture related to Hinduism, scholars have studied the Gita in relation to different pursuits of inquiry from various theoretical perspectives. In this regard, this study intends to explore the verses in the Gita from... more

Although a scripture related to Hinduism, scholars have studied the Gita in relation to different pursuits of inquiry from various theoretical perspectives. In this regard, this study intends to explore the verses in the Gita from deconstructive perspective and identify the occurrence of differance in it. For this I have introduced deconstruction and differance, and reviewed some studies guided by deconstructive reading. Although the Gita has been studied in relation to other disciplines like education, psychology, politics, environment and interspirituality, I have found no study until now guided by deconstructive reading. So I have employed deconstructive reading of the Gita as a method of textual analysis to identify differance as its theme and relate it to deconstruction. Thus I have explored the verses in the Gita grounded on deconstructive reading and concluded that the Gita contains differance as its verses designate contradictory and multiple meanings allowing their free play in the text. As this study has established the interrelation between the Gita and deconstruction, this paper justifies the significance of the Gita in the present-day postmodern context. This suggests the potentials of the Gita for the study of postmodern spirituality. Deconstructive Reading of a Text: A Review: Deconstruction has been applied to different fields of study like education, literature, environment, culture, politics, etc. As Derrideans have employed deconstruction in analyzing and interpreting meanings of texts, it is called deconstructive reading which is rooted to Derrida's readings of classics as well as other texts. Regarding Derrida's practice of deconstructive reading, Gerasimos Kakoliris argues that it was concerned with deconstructing the "metaphysics of presence"

El presente escrito propone referencias visuales, y de textos personales a modo de contribuir al diálogo en retrospectiva. Se utilizan apuntes extraídos de la clase de la profesora Joana Masó (filóloga, traductora, investigadora, curadora... more

El presente escrito propone referencias visuales, y de textos personales a modo de contribuir al diálogo en retrospectiva. Se utilizan apuntes extraídos de la clase de la profesora Joana Masó (filóloga, traductora, investigadora, curadora de arte), en el contexto Máster sobre Construcción y Representación de Identidades Culturales, Universidad de Barcelona. Aborda conceptos sobre representación, poética y deconstrucción.

Despite of Postmodernist Criticism appears as reader centered, it is essentially Structuralist. At the development of “Postmodernist Criticism” the thoughts of “Saussure's-semiotics” and “Derrida's-deconstruction” are arbiter. Saussure... more

Despite of Postmodernist Criticism appears as reader centered, it is essentially Structuralist. At the development of “Postmodernist Criticism” the thoughts of “Saussure's-semiotics” and “Derrida's-deconstruction” are arbiter. Saussure entitles “sign” the combination of sounds or symbols that provides perceiving concepts. He says “signifiant” to the string of audio, text and symbols; “signifié” to the meanings and notions. However Derrida introduces concept named “differance” for draw intention to meaning ties of indicators. He also mentions contrast and dependence of “logocentrisme” and “phonocentrisme”.
Researcher Structural Postmodernist Criticism which cares to the differences develops its method as stabile hesitations. Postmodernist method pursues hesitations in the text when it wants to mean deep meanings of literary text on the other hand it want to establish new doubts with its critical discourses. It wants to deconstruct the logic center of text which participated its meaning world however it reconstructs the text around the new logic center by a literary and critical discourse.
Postmodernist Structural Criticism tries in general to unify in its method text-centered, writer-centered, reader-centered and sociologic criticism that they are four main trends of criticism. That method treats the text collaterally in two steps of criticism. In this method the text are discussed at first stage as “signifiant” and “signifié” at second stage. Critic behaves text and writer-centered at first phase, reader and social environment-centered at second phase. In the first step he analyzes and deconstructs the text at the second reaches to synthesis and re-configures the text. This type of criticism shows features of anti-article. However the critic attitudes ironically in its language and style. It wants to spread the pleasure of criticism to its readers.
In this article we will clarify the Postmodernist Structural Criticism with regard to both its unique aspects and in common with the previous ones.
Postmodern düşüncenin edebi eleştiri yöntemi, okur merkezli görünmekle birlikte özünde yapısalcıdır. Postmodernist eleştirinin gelişiminde Saussure’ün “göstergebilim/semiyoloji” ve Derrida’nın “yapıbozum/destructuralism” düşünceleri belirleyici olmuştur. Saussure, kavramları algılamamızı sağlayan ses veya simgelerin birleşimine “gösterge”; ses, yazı ve simge dizgesine “gösteren”, anlam ve kavrama ise “gösterilen” demektedir. Derrida ise göstergeler arası anlam ağlarına dikkat çekmek üzere “differance” kavramını ortaya atar ve “logocentrisme/yazı merkezcilik”, “phonocentrisme/konuşma merkezcilik” karşıtlık ve bağımlılığına dikkat çeker.
Postmodernist düşüncenin farklılıklara dikkat kesilen arayışçı yapısal eleştiri anlayışı, yöntemini, kararlı tereddütler şeklinde geliştirir. Eserin yapısını, derin anlamlarını anlamaya çalışırken bir yandan metindeki tereddütlerin peşine düşer bir yandan da eleştirel söylemleriyle yeni tereddütler tesis eder. Anlam dünyasına sirayet ettiği metnin mantık merkezini bozmaya çalışırken edebi ve eleştirel bir söylemle, metni yeni mantık merkezinin etrafında yeniden yapılandırır. Yönteminde “metin, yazar, okur ve sosyal çevre-dönem merkezli” dört temel eleştiri eğilimi harmanlamaya çalışır. Metni yansıtmalı olarak iki aşamada değerlendirir.
Postmodernist Yapısal Eleştiride metin ilk aşamada genel olarak “gösteren”, ikincisinde “gösterilen” işleviyle ele alınır. Anlama/okuma aşamasında metin ve yazar odaklı, yansıtma/yazma aşamasında ise okur ve sosyal çevre-dönem odaklı hareket edilir. Birinci aşamada metin analiz edilir, yapısöküme uğratılır. İkinci aşamada metin yeniden yapılandırılır ve senteze varılır. Eleştirinin bu türü, “antimakale” niteliği gösterir. Eleştirmen de dil ve üslup açısından yer yer ironik bir tavır takınır, eleştiriden aldığı hazzı okura aktarmaya çalışır.
Bu yazıda Postmodernist Yapısal Eleştirinin hem özgün yanlarına hem de önceki eleştiri yöntemleri ile ortak yönlerine ışık tutulacaktır.

Leonardo, Volume 51, Issue 5, October 2018, p.527, Top-rated LABS Abstracts 2017