scholarly journals L’ekphrasis à contretemps

2015 ◽  
Vol 51 (2) ◽  
pp. 197-205
Author(s):  
Ginette Michaud ◽  
Tristan Rodriguez
Keyword(s):  
Jacques Derrida ◽  
Jean Genet

À travers l’ekphrasis d’un tableau de Rembrandt, Autoportrait en Zeuxis, une rencontre énigmatique a lieu, à contretemps, ou à retardement, entre ce tableau et une photographie de Jacques Derrida prise par Raymond Depardon en juin 2004. La ressemblance troublante levée par l’autoportrait de Rembrandt, particulièrement dans la version révélée par les rayons X, interroge autant la portée du regard de Derrida (aura-t-il « survu » cette image au moment de la prise photographique ?) que l’effet de la survie inscrite dans le sourire indécidable dont le philosophe aura fait ses « derniers mots ». Énigme du palimpseste qui se joue ici entre le peintre et le philosophe, sans négliger l’intercession d’un tiers, passeur déterminant dans cette scène, Jean Genet.

Como dar razão a Jean Genet. Jacques Derrida leitor do texto literário

Gragoatá ◽  
2005 ◽  
Vol 10 (18) ◽  
Author(s):  
Marcos Siscar
Keyword(s):  
Jacques Derrida ◽  
Jean Genet

O trabalho analisa os gestos metodológicos da leitura que Jacques Derrida faz da obra de Jean Genet, em Glas (1974). Destacando as repressões e resistências da crítica francesa tradicional em relação à obra de Genet, Derrida sugere que a problemática surgida com a leitura do autor esclarece impasses que são os da própria Teoria da Literatura. Como tratar de um objeto que se define por meio da "traição" à idéia de literatura, do abuso da crença na literatura? Como "dar razão" a Jean Genet, sem traí-lo e sem trair-se? Para Derrida, não se trata de submeter nem de mimetizar o literário, mas de responder a seu "acontecimento", à cena contrariante de seu descompasso com a origem. Por isso, a análise da retórica de Glas é uma contrapartida necessária para se compreender a leitura derridiana da obra de Genet e de aspectos específicos da Teoria da Literatura (relação com a mimesis, relação com o corpo).

Genet, Jean (1910-1986)

2018 ◽  
Author(s):  
Jap-Nanak Makkar
Keyword(s):  
Jacques Derrida ◽  
Jean Genet ◽  
Jean Cocteau ◽  
Jean Paul ◽  
Theatre Of The Absurd ◽  
Modern Era

Jean Genet was a poet, novelist, autobiographer and playwright within the Theatre of the Absurd movement. He wrote licentiously on homosexuals and outlaws, and explosively about the dispossessed and powerless, in works such as Journal du Voleur (1949, The Thief’s Journal [1954]), Un Chant d’Amour (1950, Song of Love), Les Nègres, Clownerie (1957, The Blacks: A Clown Show [1960]), and Les Paravents (1961, The Screens [1962]). His contemporaries recognized him as a unique innovator: Jean-Paul Sartre celebrated Genet’s life in a biography, Jacques Derrida discussed Genet’s construal of the autobiographical mode in Glas, and Jean Cocteau described him as the ‘greatest writer of the modern era.’

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

Provocations and Improvisations Concerning Reality: The Encounters of Jacques Derrida and Jean Luc-Nancy

Derrida Today ◽  
2014 ◽  
Vol 7 (1) ◽  
pp. 79-101
Author(s):  
Joanna Hodge
Keyword(s):  
Jacques Derrida ◽  
The Real ◽  
Michel Henry

This essay responds to the Nancean account of presentation, evoked in the opening citation, in order to trace out in Nancy's enquiries a disruption of Husserlian presentation, and a re-thinking of materiality on the edge of classical phenomenology. It stages a non-encounter between the writings of Jean-Luc Nancy and of Jacques Derrida in relation to a third term, the Lacanian conception of the ‘real’. Thereby it can be shown how these writings touch on each other, in response to phenomenology and to psychoanalytical theory, but do not engage. All the same, the claim to be made is that the writings of Nancy and Derrida converge in forming a third option, alongside the secularised phenomenologies of Sartre and Merleau-Ponty and the Christian phenomenologies of Jean-Luc Marion and Michel Henry, by marking up the event of Lacan's reformulation of Freud's psychoanalytical theorising.

Il la faut (la logique), Yes, yes: Deconstruction's Critical Force

Derrida Today ◽  
2018 ◽  
Vol 11 (2) ◽  
pp. 196-210 ◽  
Author(s):  
Stella Gaon
Keyword(s):  
Jacques Derrida ◽  
Critical Force ◽  
Ethical Imperative ◽  
Political Critique

Jacques Derrida regularly appeals to an affirmative gesture that is ‘prior’ to or more ‘originary’ than the form of the question, and this suggests one way to understand deconstruction's critical force. The ‘Yes, yes’, he says, situates a ‘vigil or beyond of the question’ with respect to an ‘irreducible responsibility’. Some Derrida scholars therefore construe the double affirmation as a source or ground of critique. In this paper, I refute this suggestion. While an originary ‘Yes, yes’ or ‘come’ (viens) does open the fields of (for example) ‘inheritance’, language, or ‘holistic webs’, I argue, it only marks (will have marked) the processes of différance or of trace that make signification possible in general. No thing, as such, is thereby affirmed. This is why the originary affirmation cannot be said to constitute, in itself, the imperative (il la faut) of the logic (la logique) of ethical-political critique. To explain why a certain ethical imperative can be associated with deconstruction, one must determine why one is always already subject to a vigil that opens critique to its own possibility. One must also determine how the affirmative gesture relates to deconstruction's critical force.

The Final ‘Thank You’

Derrida Today ◽  
2010 ◽  
Vol 3 (1) ◽  
pp. 21-36
Author(s):  
Grant Farred
Keyword(s):  
South Africa ◽  
South African ◽  
Jacques Derrida ◽  
Political Transition ◽  
The Other ◽  
World Cup ◽  
The Core ◽  
Nelson Mandela ◽  
Black President ◽  
The Moment

‘The Final “Thank You”’ uses the work of Jacques Derrida and Friedrich Nietzsche to think the occasion of the 1995 rugby World Cup, hosted by the newly democratic South Africa. This paper deploys Nietzsche's Zarathustra to critique how a figure such as Nelson Mandela is understood as a ‘Superman’ or an ‘Overhuman’ in the moment of political transition. The philosophical focus of the paper, however, turns on the ‘thank yous’ exchanged by the white South African rugby captain, François Pienaar, and the black president at the event of the Springbok victory. It is the value, and the proximity and negation, of the ‘thank yous’ – the relation of one to the other – that constitutes the core of the article. 1

Joshua Kates, Essential History: Jacques Derrida and the Development of Deconstruction (Evanston, Illinois: Northwestern University Press, 2005), 352pp, $29.95 (USD), ISBN 10: 0810123274, ISBN-13: 978-0810123274

Derrida Today ◽  
2008 ◽  
Vol 1 (1) ◽  
pp. 131-133
Author(s):  
Gary Banham
Keyword(s):  
Jacques Derrida ◽  
The Real ◽  
Northwestern University ◽  
Relationship Of ◽  
The Relationship

This book promises a ‘radical reappraisal’ (Kates 2005, xv) of Derrida, concentrating particularly on the relationship of Derrida to philosophy, one of the most vexed questions in the reception of his work. The aim of the book is to provide the grounds for this reappraisal through a reinterpretation in particular of two of the major works Derrida published in 1967: Speech and Phenomena and Of Grammatology. However the study of the development of Derrida's work is the real achievement of the book as Kates discusses major works dating from the 1954 study of genesis in Husserl's phenomenology through to the essays on Levinas and Foucault in the early 1960's as part of his story of how Derrida arrived at the writing of the two major works from 1967.

‘Pardon for not meaning’: Remarks on Derrida, Blanchot and Kafka

Derrida Today ◽  
2009 ◽  
Vol 2 (2) ◽  
pp. 245-259 ◽  
Author(s):  
Caroline Sheaffer-Jones
Keyword(s):  
Jacques Derrida ◽  
Maurice Blanchot

Jacques Derrida returns relentlessly to the question of literature which is already a prominent concern in early texts such as Writing and Difference. The focus of this article is the conception of literature in ‘Literature in Secret: An Impossible Filiation’, in which Derrida discusses filiation with reference to Abraham and Isaac, the fundamental necessity of secrecy and the notion of the pardon. Above all, it is Kafka's Letter to His Father which perhaps provides a paradigm for defining literature. In this specular address, the promise of a heritage is in the balance. Writing incessantly on Kafka, Maurice Blanchot also reflects on literature. The notion of literature put forward by Derrida in ‘Literature in Secret: An Impossible Filiation’ is considered in this article, as well as reflections by Blanchot, to show what might be at stake in Kafka's Letter to His Father.

The Political Theology of Schelling

2016 ◽  
Author(s):  
Saitya Brata Das
Keyword(s):  
Martin Heidegger ◽  
Jacques Derrida ◽  
Political Theology ◽  
The Political ◽  
Franz Rosenzweig ◽  
Political Works ◽  
The Way

This book rigorously examines the theologico-political works of Friedrich Wilhelm Joseph von Schelling, setting his thought against Hegel's and showing how he prepared the way for the post-metaphysical philosophy of Martin Heidegger, Franz Rosenzweig and Jacques Derrida.

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