Jacques Derrida – författare

Derrida's first book-length work, "The Problem of Genesis in Husserl's Philosophy", was originally written for his "diplome d'etudes superieurs" in 1953 and 1954. Surveying Husserl's major works on phenomenology, Derrida reveals what he sees as an internal tension in Husserl's central notion of "genesis" and gives us our first glimpse into the concerns and frustrations that would later lead him to abandon phenomenology and develop his now famous method of deconstruction. For Derrida, the problem of genesis in Husserl's philosophy is that both temporality and meaning must be generated by prior acts of the transcendental subject, but transcendental subjectivity must itself be constituted by an act of genesis. Hence, the notion of genesis in the phenomenological sense underlies both temporality and atemporality, history and philosophy, resulting in a tension that Derrida sees as ultimately unresolvable yet central to the practice of phenomenology."The Problem of Geneses" complements Husserl's posthumously published "Origin of Geometry" and Derrida's own "Speech and Phenomena", showing the development of Derrida's approach to phenomenology as well as documenting the state of phenomenological thought in France during a particularly fertile period, when Levinas, Sartre, Merleau-Ponty, Ricoeur and Tran-Duc-Thao, as well as Derrida, were all working through it. But the book is most important in allowing us to follow Derrida's own development as a philosopher by tracing the roots of his later work in deconstruction to these early critical reflections on Husserl's phenomenology.

These two lectures by Jacques Derrida, "Foreigner Question" and "Step of Hospitality/No Hospitality," derive from a series of seminars on "hospitality" conducted by Derrida in Paris, January 1996. His seminars, in France and in America, have become something of an institution over the years, the place where he presents the ongoing evolution of his thought in a remarkable combination of thoroughly mapped-out positions, sketches of new material, and exchanges with students and interlocutors.As has become a pattern in Derrida's recent work, the form of this presentation is a self-conscious enactment of its content. The book consists of two texts on facing pages. "Invitation" by Anne Dufourmantelle appears on the left (an invitation that of course originates in a response), clarifying and inflecting Derrida's "response" on the right. The interaction between them not only enacts the "hospitality" under discussion, but preserves something of the rhythms of teaching.The volume also characteristically combines careful readings of canonical texts and philosophical topics with attention to the most salient events in the contemporary world, using "hospitality" as a means of rethinking a range of political and ethical situations. "Hospitality" is viewed as a question of what arrives at the borders, in the initial surprise of contact with an other, a stranger, a foreigner. For example, Antigone is revisited in light of the question of impossible mourning; Oedipus at Colonus is read via concerns that also apply to teletechnology; the trial of Socrates is brought into conjunction with the televised funeral of François Mitterrand.

Marx spöken intar en speciell plats i Jacques Derridas filosofiska författarskap. Derrida betraktades länge huvudsakligen som språkfilosof eller dekonstruktör av den västerländska filosofins kanon. Under det senaste decenniet har det blivit vanligt att tala om en etisk och politisk »vändning» i hans tänkande. Marx spöken betraktas då som själva platsen för denna vändning. Derrida skulle här ha lämnat sin tidigare upptagenhet med språk och text till förmån för frågor om rättvisa och ansvar. Detta har antingen välkomnats som tecken på ett etiskt imperativ i Derridas filosofi eller avfärdats som en till intet förpliktande utopism, där Derrida åkallar en »rättvisa» och ett »ansvar» utan förankring i den faktiska verkligheten. Det finns emellertid goda skäl att inte acceptera någon av dessa läsarter. Dekonstruktionen har aldrig begränsat sig till att analysera språk eller text. Etisk-politiska frågor har från första början varit viktiga och Marx spöken utvecklar tankespår som löper genom hela Derridas filosofi. Men man kan inte utvinna en given »etik» eller »politik» ur Derridas tänkande. Rättvisa kan hos honom inte förstås som ett etiskt ideal eller en utopisk idé. Han utgår tvärtom från ett ifrågasättande av själva idén om ett idealt tillstånd. Till den svenska översättningen har Martin Hägglund skrivit en introduktion.

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

Geoffrey Bennington sets out here to write a systematic account of the thought of Jacques Derrida. Responding to Bennington's text at every turn is Derrida's own, excerpts from his life and thought that resist circumscription. Together these texts, as a dialogue and a contest, constitute a critical introduction to one of the leading philosophers of the 20th century. Bennington's account of Derrida leads the reader through the philosopher's work on language and writing, and through more mysterious themes of signature, sexual difference, law, and affirmation. Seeking to escape this systematic rendering - in fact, to prove it impossible - Derrida interweaves Bennington's text with surprising and disruptive "periphrases": reflections on his mother's death agony, commentaries on St. Augustine's "Confessions", memories of childhood, remarks on Judaism, and references to his collaborator's efforts.

Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks.The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.

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

"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

When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With "The Beast and the Sovereign, Volume I", the University of Chicago Press inaugurated an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. This volume, now in paperback, launched the series with Derrida's exploration of the persistent association of animality with sovereignty. "The Beast and The Sovereign" are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. An astonishing array of texts - from La Fontaine's fable "The Wolf and the Lamb" to Machiavelli's "Prince" - come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.

When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With "The Beast and the Sovereign, Volume I", the University of Chicago Press inaugurated an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. This volume, now in paperback, launched the series with Derrida's exploration of the persistent association of animality with sovereignty. "The Beast and The Sovereign" are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. An astonishing array of texts - from La Fontaine's fable "The Wolf and the Lamb" to Machiavelli's "Prince" - come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.

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.

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.

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.

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

Jacques Derrida is, in the words of the New York Times, "perhaps the world's most famous philosopher if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. The Work of Mourning is a collection that honors those friendships in the wake of passing. Gathered here are texts letters of condolence, memorial essays, eulogies, funeral orations written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jab\u00e8s, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-Fran\u00e7ois Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servi\u00e8re. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship.In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."Steven Poole, Guardian "Strikingly simpa meditations on friendship, on shared vocations and avocations and on philosophy and history." Publishers Weekly

Nietzsche has recently enjoyed much scrutiny from the nouveaux critiques. Jacques Derrida, the leader of that movement, here combines in his strikingly original and incisive fashion questions of sexuality, politics, writing, judgment, procreation, death, and even the weather into a far-reaching analysis of the challenges bequeathed to the modern world by Nietzsche. Spurs, then, is aptly titled, for Derrida's "deconstructions" of Nietzsche's meanings will surely act as spurs to further thought and controversy. This dual-language edition offers the English-speaking reader who has some knowledge of French an opportunity to examine the stylistic virtuosity of Derrida's writing of particular significance for his analysis of "the question of style."

I shall speak of ghost, of flame, and of ashes. These are the first words of Jacques Derrida's lecture on Heidegger. It is again a question of Nazism of what remains to be thought through of Nazism in general and of Heidegger's Nazism in particular. It is also "politics of spirit" which at the time people thought they still want to today to oppose to the inhuman. "Derrida's ruminations should intrigue anyone interested in Post-Structuralism...This study of Heidegger is a fine example of how Derrida can make readers of philosophical texts notice difficult problems in almost imperceptible details of those texts." David Hoy, London Review of Books "Will a more important book on Heidegger appear in our time? No, not unless Derrida continues to think and write in his spirit...Let there be no mistake: this is not merely a brilliant book on Heidegger, it is thinking in the grand style." David Farrell Krell, Research in Phenomenology "The analysis of Heidegger is brilliant, provocative, elusive." Peter C. Hodgson, Religious Studies Review

Is giving possible? Is it possible to give without immediately entering into a circle of exchange that turns the gift into a debt to be returned? This question leads Jacques Derrida to make out an irresolvable paradox at what seems the most fundamental level of the gift's meaning: for the gift to be received as a gift, it must not appear as such, since its mere appearance as gift puts it in the cycle of repayment and debt. Derrida reads the relation of time to gift through a number of texts: Heidegger's Time and Being, Mauss's The Gift, as well as essays by Benveniste and Levi-Strauss that assume Mauss's legacy. It is, however, a short tale by Baudelaire, "Counterfeit Money," that guides Derrida's analyses throughout. At stake in his reading of the tale, to which the second half of this book is devoted, are the conditions of gift and forgiveness as essentially bound up with the movement of dissemination, a concept that Derrida has been working out for many years. For both readers of Baudelaire and students of literary theory, this work will prove indispensable.

The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics. Alexander Gelley, Library Journal

Theory and Practice is a series of nine lectures that Jacques Derrida delivered at the École Normale Supérieure in 1976 and 1977. The topic of “theory and practice” was associated above all with Marxist discourse and particularly the influential interpretation of Marx by Louis Althusser. Derrida’s many questions to Althusser and other thinkers aim at unsettling the distinction between thinking and acting. Derrida’s investigations set out from Marx’s “Theses on Feuerbach,” in particular the eleventh thesis, which has often been taken as a mantra for the “end of philosophy,” to be brought about by Marxist practice. Derrida argues, however, that Althusser has no such end in view and that his discourse remains resolutely philosophical, even as it promotes the theory/practice pair as primary values. This seminar also draws fascinating connections between Marxist thought and Heidegger and features Derrida’s signature reconsideration of the dichotomy between doing and thinking. This text, available for the first time in English, shows that Derrida was doing important work on Marx long before Specters of Marx. As with the other volumes in this series, it gives readers an unparalleled glimpse into Derrida’s thinking at its best—spontaneous, unpredictable, and groundbreaking.

A significant event in Derrida scholarship, this book marks the first publication of his long-lost philosophical text known only as "Geschlecht III." The third, and arguably the most significant, piece in his four-part Geschlecht series, it fills a gap that has perplexed Derrida scholars. The series centers on Martin Heidegger and the enigmatic German word Geschlecht, which has several meanings pointing to race, sex, and lineage. Throughout the series, Derrida engages with Heidegger's controversial oeuvre to tease out topics of sexual difference, nationalism, race, and humanity. In Geschlecht III, he calls attention to Heidegger's problematic nationalism, his work's political and sexual themes, and his promise of salvation through the coming of the "One Geschlecht," a sentiment that Derrida found concerningly close to the racial ideology of the Nazi party.Amid new revelations about Heidegger's anti-Semitism and the contemporary context of nationalist resurgence, this third piece of the Geschlecht series is timelier and more necessary than ever. Meticulously edited and expertly translated, this volume brings Derrida's mysterious and much awaited text to light.

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 cole Normale Sup rieure, 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.