Search results for ""author jacques derrida""

El nombre de Derrida está estrechamente vinculado al término deconstrucción, idea que propugna la disolución de fronteras estrictas entre filosofía y literatura. Se convierte así en una estrategia de lectura, en un mecanismo textual por encima del autor y del texto.

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Al querer distinguir la ciencia de la ficción, finalmente se recurrirá al criterio de verdad. Y al preguntar: Qué es la verdad?, se volverá muy pronto, más allá de la adecuación o de la 'homoiosis', al valor de descubrimiento, de revelación, de desnudamiento de lo que es, tal como es, en su ser. Quién pretenderá entonces que 'Los nuevos trajes del emperador' no ponen en escena la verdad misma? La posibilidad de lo verdadero como desnudamiento? Y desnudamiento del rey, del amo, del padre, de los súbditos? Y si la vergüenza consiguiente tuviese algo que ver con la mujer o con la castración, la figura del rey desempeñaría aquí todos los papeles.

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"The name: What does one call thus? What does one understand under the name of name? And what occurs when one gies a name? What does one give then? One does not offer a thing, one delivers nothing, and still something comes to be, which comes down to giving that which one does not have, as Plotinus said of the Good. What happens, above all, when it is necessary to sur-name, renaming there where, precisely, the name comes to be found lacking? What makes the proper name into a sort of sur-name, pseudonym, or cryptonym at once singular and singularly untranslatable?" Jacques Derrida thus poses a central problem in contemporary language, ethics, and politics, which he addresses in a liked series of the three essays. Passions: "An Oblique Offering" is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding—which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised inevitably by a rigorous negative theology. Much of the text is organized around close readings of the poetry of Angelus Silesius. The final essay, Khora, explores the problem of space or spacing, of the word khora in Plato's Tmaeus. Even as it places and makes possible nothing less than the whole world, khora opens and dislocates, displaces, all the categories that govern the production of that world, from naming to gender. In addition to readers in philosophy and literature, Khora will be of special interest to those in the burgeoning field of "space studies"(architecture, urbanism, design).

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This volume collects twenty-three interviews given over the course of the last two decades by Jacques Derrida. It illustrates the extraordinary breadth of his concerns, touching upon such subjects as the teaching of philosophy, sexual difference and feminine identity, the media, AIDS, language and translation, nationalism, politics, and Derrida's early life and the history of his writings. Often, as in the interview on Heidegger, or that on drugs, or on the nature of poetry, these interviews offer not only an introduction to other discussions, but something available nowhere else in his work. When did feminist discourse become an indispensable consideration for deconstruction? What was the impact on Derrida's work of his being an Algerian Jew growing up during World War II? Is there an ineradicable gap between language-based attitude such as those found in a deconstruction and subjectivity-oriented critical models such as those developed by Foucault and Lacan? Such questions as these are answered with great thoughtfulness and intensity. Derrida's oral style is patient, generous, and helpful. His tone varies with the questioners and the subject matter—militant, playful, strategic, impassioned, analytic: difference in modulation can sometimes be heard within the same dialogue. The informality of the interview process frequently leads to the most succinct and lucid explications to be found of many of the most important and influential aspects of Derrida's thought. Sixteen of the interviews appear here for the first time in English, including an interview, conducted especially for this volume, concerning the recent exchange of letters in the New York Review of Books.

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Este ensayo trata sobre las relaciones entre el derecho y la justicia, pero también entre el poder, la autoridad y la violencia. La justicia no se agota nunca en las representaciones y las instituciones jurídicas que intentan ajustarse a ella. Lo justo trasciende siempre lo jurídico, pero no hay justicia que no deba inscribirse en un derecho, en un sistema y en una historia de la legalidad, en la política y en el Estado. No quita que, a su vez, el derecho prime sobre la fuerza; este es su deber, no hay derecho que no implique por sí mismo su aplicación, una técnica y, en consecuencia, la posibilidad de la guerra. Lo recuerda Kant: no hay derecho sin coacción. Lo que pretende tener fuerza de ley inscribe así la apelación a la fuerza en el concepto mismo de su autoridad. El riesgo de tiranía acecha ya desde el origen de la ley.Recuperando una expresión de Montaigne, Pascal hablaba de un fundamento místico de la autoridad: aquel que lleva a ésta a su principio, la aniquila. Y esta aniq

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Índice: Estudio introductorio: Crítica límite / El límite de la crítica, por Manuel Asensi. I. Fronteras de la literatura. Procesos. J. Derrida: Ulises gramófono: El oui-dire de Joyce. Ph. Lacoue-Labarthe: La fábula (literatura y filosofía). II. las deconstrucciones. Lecturas. J. Hillis Miller: El crítico como anfitrión. P. de Man: Retórica de la ceguera: Derrida, lector de Rousseau. G. Hartman: El destino de la lectura. III. Sobre la deconstrucción. R. Gasché: La deconstrucción como crítica. C. Nicolás: Entre la deconstrucción. M. Ferraris: Jacques Derrida. Deconstrucción y ciencias del espíritu.

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-- Journal of Aesthetics and Art

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Prompted by the unification of Europe in 1992 and by recent events in Eastern Europe and the Soviet Union, Jacques Derrida begins this compelling essay on contemporary world politics with the issue of European identity. What, he asks, is Europe? How has Europe traditionally been defined and how is the current world situation changing that definition? Might the prospects of a New Europe demand not only a new definition of European identity but also a new way of thinking identity itself? Navigating in and through texts of Marx, Husserl, and especially Valéry, Derrida seeks a redefinition of European identity that includes respect both for difference and for universal values. The Other Heading appeals eloquently for a sustained effort at thinking through the complexity and the multiple dangers and opportunities of the contemporary world situation without resorting to easy or hasty solutions.

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This volume collects twenty-three interviews given over the course of the last two decades by Jacques Derrida. It illustrates the extraordinary breadth of his concerns, touching upon such subjects as the teaching of philosophy, sexual difference and feminine identity, the media, AIDS, language and translation, nationalism, politics, and Derrida's early life and the history of his writings. Often, as in the interview on Heidegger, or that on drugs, or on the nature of poetry, these interviews offer not only an introduction to other discussions, but something available nowhere else in his work. When did feminist discourse become an indispensable consideration for deconstruction? What was the impact on Derrida's work of his being an Algerian Jew growing up during World War II? Is there an ineradicable gap between language-based attitude such as those found in a deconstruction and subjectivity-oriented critical models such as those developed by Foucault and Lacan? Such questions as these are answered with great thoughtfulness and intensity. Derrida's oral style is patient, generous, and helpful. His tone varies with the questioners and the subject matter—militant, playful, strategic, impassioned, analytic: difference in modulation can sometimes be heard within the same dialogue. The informality of the interview process frequently leads to the most succinct and lucid explications to be found of many of the most important and influential aspects of Derrida's thought. Sixteen of the interviews appear here for the first time in English, including an interview, conducted especially for this volume, concerning the recent exchange of letters in the New York Review of Books.

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Completing the translation of Derrida's monumental work Right to Philosophy (the first part of which has already appeared under the title of Who's Afraid of Philosophy?), Eyes of the University brings together many of the philosopher's most important texts on the university and, more broadly, on the languages and institutions of philosophy. In addition to considerations of the implications for literature and philosophy of French becoming a state language, of Descartes' writing of the Discourse on Method in French, and of Kant's and Schelling's philosophies of the university, the volume reflects on the current state of research and teaching in philosophy and on the question of what Derrida calls a "university responsibility." Examining the political and institutional conditions of philosophy, the essays collected here question the growing tendency to orient research and teaching towards a programmable and profitable end. The volume is therefore invaluable for the light it throws upon an underappreciated aspect of Derrida's own engagement, both philosophical and political, in struggles against the stifling of philosophical research and teaching. As a founding member of the Research Group on the Teaching of Philosophy and as one of the conveners of the Estates General of Philosophy, Derrida was at the forefront of the struggle to preserve and extend the teaching of philosophy as a distinct discipline, in secondary education and beyond, in the face of conservative government education reforms in France. As one of the founders of the Collège International de Philosophie, he worked to provide a space for research in and around philosophy that was not accepted or legitimated in other institutions. Documenting and reflecting upon these engagements, Eyes of the University brings together some of the most important and incisive of Derrida's works.

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This volume reflects Jacques Derrida's engagement in the late 1970s with French political debates on the teaching of philosophy and the reform of the French university system. He was a founding member of the Research Group on the Teaching of Philosophy (Greph), an activist group that mobilized opposition to the Giscard government's proposals to "rationalize" the French educational system in 1975, and a convener of the Estates General of Philosophy, a vast gathering in 1979 of educators from across France. While addressing specific contemporary political issues on occasion, thus providing insight into the pragmatic deployment of deconstructive analysis, the essays deal mainly with much broader concerns. With his typical rigor and spark, Derrida investigates the genealogy of several central concepts which any debate about teaching and the university must confront. Thus there are essays on the "teaching body," both the faculty corps and the strange interplay in the French (but not only the French) tradition between the mind and body of the professor; on the question of age in teaching, analyzed through a famous letter of Hegel; on the class, the classroom, and the socio-economic concept of class in education; on language, especially so-called "natural languages" like French; and on the legacy of the revolutionary tradition, the Estates General, in the university. The essays are linked by the extraordinary care and precision with which Derrida undertakes a political intervention into, and a philosophical analysis of, the institutionalization of philosophy in the university.

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Something of a historical event, this book combines loosely "autobiographical" texts by two of the most influential French intellectuals of our time. "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body. Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies. However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

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In Archive Fever, Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology—fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling."Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."—The Guardian"[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."—Choice"Beautifully written and clear."—Jeremy Barris, Philosophy in Review"Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."—Library Journal

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Using the philosophy of Jean-Luc Nancy as an anchoring point, Jacques Derrida in this book conducts a profound review of the philosophy of the sense of touch, from Plato and Aristotle to Jean-Luc Nancy, whose ground-breaking book Corpus he discusses in detail. Emmanuel Levinas, Maurice Merleau-Ponty, Edmund Husserl, Didier Franck, Martin Heidegger, Francoise Dastur, and Jean-Louis Chrétien are discussed, as are René Descartes, Diderot, Maine de Biran, Félix Ravaisson, Immanuel Kant, Sigmund Freud, and others. The scope of Derrida's deliberations makes this book a virtual encyclopedia of the philosophy of touch (and the body). Derrida gives special consideration to the thinking of touch in Christianity and, in discussing Jean-Luc Nancy's essay "Deconstruction of Christianity," devotes a section of the book to the sense of touch in the Gospels. Another section concentrates on "the flesh," as treated by Merleau-Ponty and others in his wake. Derrida's critique of intuitionism, notably in the phenomenological tradition, is one of the guiding threads of the book. On Touching includes a wealth of notes that provide an extremely useful bibliographical resource. Personal and detached all at once, this book, one of the first published in English translation after Jacques Derrida's death, serves as a useful and poignant retrospective on the work of the philosopher. A tribute by Jean-Luc Nancy, written a day after Jacques Derrida's death, is an added feature.

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In this newest installment in Chicago's series of Jacques Derrida's seminars, the renowned philosopher attempts one of his most ambitious goals: the first truly philosophical argument against the death penalty. While much has been written against the death penalty, Derrida contends that Western philosophy is massively, if not always obviously, complicit with a logic in which a sovereign state has the right to take a life. Haunted by this notion, he turns to the key places where such logic has been established - and to the place it has been most effectively challenged: literature. With his signature genius and patient yet dazzling readings of an impressive breadth of texts, Derrida examines everything from the Bible to Plato to Camus to Jean Genet, with special attention to Kant and post-World War II juridical texts, to draw the landscape of death penalty discourses. Keeping clearly in view the death rows and execution chambers of the United States, he shows how arguments surrounding cruel and unusual punishment depend on what he calls an "anaesthesial logic," which has also driven the development of death penalty technology from the French guillotine to lethal injection. Confronting a demand for philosophical rigor, he pursues provocative analyses of the shortcomings of abolitionist discourse. Above all, he argues that the death penalty and its attendant technologies are products of a desire to put an end to one of the most fundamental qualities of our finite existence: the radical uncertainty of when we will die. Arriving at a critical juncture in history - especially in the United States, one of the last Christian-inspired democracies to resist abolition - The Death Penalty is both a timely response to an important ethical debate and a timeless addition to Derrida's esteemed body of work.

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17 November 1979You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean to happen, to arrive, to have to happen or arrive, to let or to make happen or arrive, to destine, to address, to send, to legate, to inherit, etc., if it all still signifies, between here and there, the near and the far, da und fort, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself.J. D."With The Post Card, as with Glas, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel (the long section is called "Envois," roughly, "dispatches" ), he stages his writing more overtly than in the scholarly works. . . . The Post Card also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, Library Journal

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The Gift of Death, Jacques Derrida’s most sustained consideration of religion, explores questions first introduced in his book Given Time about the limits of the rational and responsible that one reaches in granting or accepting death, whether by sacrifice, murder, execution, or suicide. Derrida analyzes Czech philosopher Jan Patocka’s Heretical Essays in the Philosophy of History and develops and compares his ideas to the works of Heidegger, Lévinas, and Kierkegaard. One of Derrida’s major works, The Gift of Death resonates with much of his earlier writing, and this highly anticipated second edition is greatly enhanced by David Wills’s updated translation. This new edition also features the first-ever English translation of Derrida’s Literature in Secret. In it, Derrida continues his discussion of the sacrifice of Isaac, which leads to bracing meditations on secrecy, forgiveness, literature, and democracy. He also offers a reading of Kafka’s Letter to His Father and uses the story of the flood in Genesis as an embarkation point for a consideration of divine sovereignty. “An important contribution to the critical study of ethics that commends itself to philosophers, social scientists, scholars of religion . . . [and those] made curious by the controversy that so often attends Derrida.”—Booklist, on the first edition

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Following on from The Beast and the Sovereign, Volume I, this book extends Jacques Derrida's exploration of the connections between animality and sovereignty. In this second year of the seminar, originally presented in 2002 2003 as the last course he would give before his death, Derrida focuses on two markedly different texts: Heidegger's 1929 1930 course The Fundamental Concepts of Metaphysics, and Daniel Defoe's Robinson Crusoe. As he moves back and forth between the two works, Derrida pursuesthe relations between solitude, insularity, world, violence, boredom and death as they supposedly affect humans and animals in different ways. Hitherto unnoticed or underappreciated aspects of Robinson Crusoe are brought out in strikingly original readings of questions such as Crusoe's belief in ghosts, his learning to pray, his parrot Poll, and his reinvention of the wheel. Crusoe's terror of being buried alive or swallowed alive by beasts or cannibals gives rise to a rich and provocative reflection on death, burial, and cremation, in part provoked by a meditation on the death of Derrida's friend Maurice Blanchot. Throughout, these readings are juxtaposed with interpretations of Heidegger's concepts of world and finitude to produce a distinctively Derridean account that will continue to surprise his readers.

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“More than fifteen years ago,” Jacques Derrida writes in the prologue to this remarkable and uniquely revealing book, “a phrase came to me, as though in spite of me. . . . It imposed itself upon me with the authority, so discreet and simple it was, of a judgment: ‘cinders there are’ (il y a là cendre). . . . I had to explain myself to it, respond to it—or for it.” In Cinders Derrida ranges across his work from the previous twenty years and discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and cinders. For Derrida, cinders or ashes—at once fragile and resilient—are “the better paradigm for what I call the trace—something that erases itself totally, radically, while presenting itself.”In a style that is both highly condensed and elliptical, Cinders offers probing reflections on the relation of language to truth, writing, the voice, and the complex connections between the living and the dead. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust (both a word—from the Greek hólos, “whole,” and kaustós, “burnt”—and a historical event that invokes ashes) in contemporary poetry and philosophy. In turning from the texts of other philosophers to his own, Cinders enables readers to follow the trajectory from Derrida’s early work on the trace, the gramma, and the voice to his later writings on life, death, time, and the spectral. Among the most accessible of this renowned philosopher’s many writings, Cinders is an evocative and haunting work of poetic self-analysis that deepens our understanding of Derrida’s critical and philosophical vision.

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“I have but one language—yet that language is not mine.” This book intertwines theoretical reflection with historical and cultural particularity to enunciate, then analyze this conundrum in terms of the author’s own relationship to the French language. The book operates on three levels. At the first level, a theoretical inquiry investigates the relation between individuals and their “own” language. It also explores the structural limits, desires, and interdictions inherent in such “possession,” as well as the corporeal aspect of language (its accents, tones, and rhythms) and the question of the “countability” of languages (that is, their discreteness or factual givenness). At the second level, the author testifies to aspects of his acculturation as an Algerian Jew with respect to language acquisition, schooling, citizenship, and the dynamics of cultural-political exclusion and inclusion. At the third level, the book is comparative, drawing on statements from a wide range of figures, from the Moroccan Abdelkebir Khatibi to Franz Rosenzweig, Gershom Scholem, Hannah Arendt, and Emmanuel Levinas. Since one of the book’s central themes is the question of linguistic and cultural identity, its argument touches on several issues relevant to the current debates on multiculturalism. These issues include the implementation of colonialism in the schools, the tacit or explicit censorship that excludes other (indigenous) languages from serious critical consideration, the investment in an ideal of linguistic purity, and the problematics of translation. The author also reveals the complex interplay of psychological factors that invests the subject of identity with the desire to recover a “lost” language of origin and with the ambition to master the language of the colonizer.

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"My death—is it possible?" That is the question asked, explored, and analyzed in Jacques Derrida's new book. "Is my death possible?" How is this question to be understood? How and by whom can it be asked, can it be quoted, can it be an appropriate question, and can it be asked in the appropriate moment, the moment of "my death"? One of the aporetic experiences touched upon in this seminal essay is the impossible, yet unavoidable experience that "my death" can never subject to an experience that would be properly mine, that I can have, and account for, yet that there is, at the same time, nothing closer to me and more properly mine than "my death." This book bears a special significance because in it Derrida focuses on an issue that has informed the whole of his work up to the present. For the last thirty years, Derrida has repeatedly, in various contexts and various ways, broached the question of aporia. Making it his central concern here Derrida stakes out a new frontier, at which the debate with his work must take place from now on: the debate about the aporia between singularity and generality, about the national, linguistic, and cultural specificity of experience and the trans-national, trans-cultural law that protects this specificity of experience and of the necessity to continue working in the tradition of critique and of the idea of critique, yet the corresponding necessity to transcend it without compromising it; the aporetical obligation to host the foreigner and the alien and yet to respect him, her, or it as foreign. The foreign or the foreigner has always been considered a figure of death, and death a figure of the foreign. How this figure has been treated in the analytic of death in Heidegger's Being in Time is explored by Derrida in analytical tour de force that will not fail to set new standards for the discussion of Heidegger and for dealing with philosophical texts, with their limits and their aporias. The detailed discussion of the theoretical presuppositions of recent cultural histories of death (Ariès, for example) and of psychological theorizations of death (including Freud's) broaden the scope of Derrida's investigation and indicate the impact of the aporia of "my death" for any possible theory.

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In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally.

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In the first volume of his extraordinary analysis of the death penalty, Jacques Derrida began a journey toward an ambitious end: the first truly philosophical argument against the death penalty. Exploring an impressive breadth of thought, he traced a deeply entrenched logic throughout the whole of Western philosophy that has justified the state's right to take a life. He also marked literature as a crucial place where this logic has been most effectively challenged. In this second and final volume, Derrida builds on these analyses toward a definitive argument against capital punishment. Of central importance in this second volume is Kant's explicit justification of the death penalty in the Metaphysics of Morals. Thoroughly deconstructing Kant's position which holds the death penalty as exemplary of the eye-for-an-eye Talionic law Derrida exposes numerous damning contradictions and exceptions. Keeping the current death penalty in the United States in view, he further explores the "anesthesial logic" he analyzed in volume one, addressing the themes of cruelty and pain through texts by Robespierre and Freud, reading Heidegger, and in a fascinating, improvised final session the nineteenth-century Spanish Catholic thinker Donoso Cortes. Ultimately, Derrida shows that the rationality of the death penalty as represented by Kant involves an imposition of knowledge and calculability on a fundamental condition of non-knowledge that we don't otherwise know what or when our deaths will be. In this way, the death penalty acts out a phantasm of mastery over one's own death. Derrida's thoughts arrive at a particular moment in history: when the death penalty in the United States is the closest it has ever been to abolition, and yet when the arguments on all sides are as confused as ever. His powerful analysis will prove to be a paramount contribution to this debate as well as a lasting entry in his celebrated oeuvre.

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This book questions the book itself, archivization, machines for writing, and the mechanicity inherent in language, the media, and intellectuals. Derrida questions what takes place between the paper and the machine inscribing it. He examines what becomes of the archive when the world of paper is subsumed in new machines for virtualization, and whether there can be a virtual event or a virtual archive. Derrida continues his long-standing investigation of these issues, and ties them into the new themes that governed his teaching and thinking in the past few years: the secret, pardon, perjury, state sovereignty, hospitality, the university, animal rights, capital punishment, the question of what sort of mediatized world is replacing the print epoch, and the question of the “wholly other.” Derrida is remarkable at making seemingly occasional pieces into part of a complexly interconnected trajectory of thought.

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This book brings together for the first time five recent essays by Jacques Derrida, which advance his reflections on many issues: lying, perjury, forgiveness, confession, the profession of faith, and, most recently, cruelty, sovereignty, and capital punishment. 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." The first essay, "History of the Lie," reviews some classic and modern definitions of the lie (Augustine, Rousseau, Kant, Koyré, Arendt), while renewing questions about what is called lying, as distinguished from other forms of nontruth. 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. Paul de Man's reading of this textual event is at the center of Derrida's patient, at times seriously funny analyses. "Le parjure, Perhaps" engages with a remarkable novel by Henri Thomas that fictionalizes the charge of perjury brought against Paul de Man in the 1950s. Derrida's extraordinary fineness as a reader and thinker of fiction here treats, to profound effect, the "fatal experience of perjury." The two final essays, "The University Without Condition" and "Psychoanalysis Searches the States of Its Soul," address the institutions of the university and of psychoanalysis as sites from which to resist and deconstruct the nontruth or phantasm of sovereignty. 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 2000. Especially for this volume, Derrida has written "Provocation: Forewords," which reflects on the title Without Alibi while taking up questions about relations between deconstruction and America. This essay-foreword also responds to the event of this book, which Peggy Kamuf in her introduction presents as event of resistance. Without Alibi joins two other books by Derrida that Kamuf has translated for Stanford University Press: Points . . .: Interviews, 1974-1994 (1994) and Resistances of Psychoanalysis (1998).

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This collection of essays and interviews, some previously unpublished and almost all of which appear in English for the first time, encompasses the political and ethical thinking of Jacques Derrida over thirty years. Passionate, rigorous, beautifully argued, wide-ranging, the texts shed an entirely new light on his work and will be welcomed by scholars in many disciplines—politics, philosophy, history, cultural studies, literature, and a range of interdisciplinary programs. Derrida's arguments vary in their responsiveness to given political questions—sometimes they are vivid polemics on behalf of a position or figure, sometimes they are reflective analyses of a philosophical problem. They are united by the recurrent question of political decision or responsibility and the insistence that the apparent simplicity or programmatic character of political decision is in fact a profound avoidance of the political. This volume testifies to the possibility and the necessity of a philosophical politics. Negotiations assembles some of the most telling examples of the intrinsic relationship, so often affirmed by Derrida in more abstract philosophical terms, between deconstructive reading practices and what is called the "political"—more precisely, politics in an almost down-to-earth, pragmatic, and commonsense use of the word. Among the many subjects covered in the book are: the death penalty in the United States, the civil war in Algeria, globalization and cosmopolitanism, the American Declaration of Independence, Jean-Paul Sartre, the value of objectivity, politics and friendship, and the relationship between deconstruction and actuality.

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Jacques Derrida is one of the most prolific and influential contemporary French intellectuals. Twenty-two essays and excerpts from Derrida's writings over the last twenty-five years are gathered in this accessible introduction, A Derrida Reader. The book's five sections are carefully introduced by the editor, and each selection of Derrida's work is presented succinctly in context. A general introduction to the volume by Peggy Kamuf provides an original interpretation and overview of Derrida's work and philosophy.

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First published in 1972, Dissemination contains three of Derrida's most central and seminal works: 'Plato's Pharmacy', 'The Double Session' and 'Dissemination'. The essays present a re-evaluation of the logic of meaning and the function of writing in Western discourse and explore the relationship and interplay between language, literature and philosophy. The text includes a substantial introduction and additional notes on the text by Barbara Johnson.

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"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger—each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book—a source of true illumination for those prepared to follow his arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."—Alexander Gelley, Library Journal

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This volume, now with a substantial new Introduction, represents one of the most lucid, compact and reliable introductions to Derrida and deconstruction available in any language. Responding to questions put to him at a roundtable held at Villanova University in 1994, Jacques Derrida leads the reader through an illuminating discussion of the central themes of deconstruction. Speaking in English and extemporaneously, Derrida takes up with unusual clarity and great eloquence such topics as the task of philosophy, the Greeks, justice, responsibility, the gift, community, and the messianic. Derrida refutes the charges of relativism that are often leveled at deconstruction by its critics and sets forth the profoundly affirmative and ethico-political thrust of his work. The roundtable is marked by an unusual clarity that continues into the second part of the book, in which one of Derrida’s most influential readers, John D. Caputo, elaborates upon Derrida’s comments and supplies material for further discussion. This edition also includes a substantial new Introduction by Caputo that discusses the original context of the book and traces the development of deconstruction since Derrida’s death in 2004, from the rise of new materialisms to return to religion. Long one of the most lucid and reliable introductions to Derrida and deconstruction available in any language, and an ideal volume for students, Deconstruction in a Nutshell will also prove illuminating for those already familiar with Derrida’s work.

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He insists on my dreams, on my letters, on my Hs on my Cs, on my Js, on my Gs. G, G, G, G, jet ! A" You are my insister A" he says. A" You are my insister A" I say. No one has performed more learned yet more innocent pirouettes around words, letters, no one has ever managed to get French more joyously drunk, giving philosophy the full measure of its greatness once and for all, its tragic, its comic spell. [I never read him without being appalled at my urge to laugh with enchantment.]' Helene Cixous ORIGINAL TEXT BY DERRIDA TRANSLATED INTO ENGLISH FOR THE FIRST TIME In this book Derrida responds to the work Dream I Tell You by Helene Cixous, using it to explore the nature of the literary archive, the production of literature and Cixous' genius. These texts allow the reader to puzzle the genealogy of deconstruction and to consider the importance of the poetic and sexual difference to the entirety of Derrida's work. They also demonstrate that, as Derrida admits, he has always been a devotee of Cixous. Key Features: *The single most important work to address Helene Cixous' contribution to French thought. *Charts the influence of Cixous and Derrida on each other.

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