Suchergebnisse

Dernière version avant publication. A paru dans Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/ ; Pre-publication draft of paper that appeared in: Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/

Dernière version avant publication. A paru dans Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/ ; Pre-publication draft of paper that appeared in: Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/

Dernière version avant publication. A paru dans Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/ Pre-publication draft of paper that appeared in: Visual Worlds: The Aesthetics and Politics of Affect, dir. Isabelle Boof-Vermesse, Kornelia Slavova, Elena Dineva, Sofia University Press, 2018, 33-41. https://polis-publishers.com/kniga/visual-worlds-the-aesthetics-and-politics-of-affect-e-book/

& co-graphy names here writing experienced as differance of 'now' ('the present') and 'then' ('the past', 'the future'), of memory and erasure called here 'saw' and 'was' and the rupture that constitutes them. & co-graphy also brings into dialogue Elizabeth Bowen's novel The Little Girls, explicitly writing the theme of extinction through reflection upon global-scaled destructions (World War 1, nuclear holocaust and winter, climate change), with poet W. S. Merwin's longstanding engagement with the 'environment' and disappearing forms of life and culture.

Few philosophers held greater fascination for Jacques Derrida than Martin Heidegger, and in this book we get an extended look at Derrida's first real encounters with him. Delivered over nine sessions in 1964 and 1965 at the École Normale Supérieure, these lectures offer a glimpse of the young Derrida first coming to terms with the German philosopher and his magnum opus, Being and Time. They provide not only crucial insight into the gestation of some of Derrida's primary conceptual concerns—indeed, it is here that he first uses, with some hesitation, the word "deconstruction"—but an analysis of Being and Time that is of extraordinary value to readers of Heidegger or anyone interested in modern philosophy Derrida performs an almost surgical reading of the notoriously difficult text, marrying pedagogical clarity with patient rigor and acting as a lucid guide through the thickets of Heidegger's prose. At this time in intellectual history, Heidegger was still somewhat unfamiliar to French readers, and Being and Time had only been partially translated into French. Here Derrida mostly uses his own translations, giving his own reading of Heidegger that directly challenges the French existential reception initiated earlier by Sartre. He focuses especially on Heidegger's Destruktion (which Derrida would translate both into "solicitation" and "deconstruction") of the history of ontology, and indeed of ontology as such, concentrating on passages that call for a rethinking of the place of history in the question of being, and developing a radical account of the place of metaphoricity in Heidegger's thinking. This is a rare window onto Derrida's formative years, and in it we can already see the philosopher we've come to recognize—one characterized by a bravura of exegesis and an inventiveness of thought that are particularly and singularly his.

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.

Intro -- Contents -- Foreword to the English Edition -- General Introduction to the French Edition -- Editorial Note -- First Session: December 8, 1999 -- First Session: December 8, 1999 (continued) -- Second Session: December 15, 1999 -- Third Session: January 12, 2000 -- Fourth Session: January 19, 2000 -- Fifth Session: January 26, 2000 -- Sixth Session: February 2, 2000 -- Seventh Session: February 9, 2000 -- Eighth Session: February 23, 2000 -- Ninth Session: March 1 / 8, 2000 -- Tenth Session: March 15, 2000 -- Eleventh Session: March 22, 2000 -- Index of Names.