|
Showing 1 - 18 of
18 matches in All Departments
|
Hospitality, Volume I
Jacques Derrida; Translated by E.S. Burt; Edited by Pascale-Anne Brault, Peggy Kamuf
|
R1,061
Discovery Miles 10 610
|
Ships in 9 - 15 working days
|
Jacques Derrida explores the ramifications of what we owe to
others. Hospitality reproduces a two-year seminar series delivered
by Jacques Derrida at the École des hautes études en sciences
sociales in Paris between 1995 and 1997. In these lectures, Derrida
asks a series of related questions about responsibility and “the
foreigner”: How do we welcome or turn away the foreigner? What
does the idea of the foreigner reveal about kinship and the state,
particularly in relation to friendship, citizenship, migration,
asylum, assimilation, and xenophobia? Derrida approaches these
questions through readings of several classical texts as well as
modern texts by Heidegger, Arendt, Camus, and others. Central to
his project is a rigorous distinction between conventional, finite
hospitality, with its many conditions, and the aspirational idea of
hospitality as something offered unconditionally to the stranger.
This volume collects the first year of the seminar.
Rogues, published in France under the title Voyous, comprises two
major lectures that Derrida delivered in 2002 investigating the
foundations of the sovereignty of the nation-state. The term "Etat
voyou" is the French equivalent of "rogue state," and it is this
outlaw designation of certain countries by the leading global
powers that Derrida rigorously and exhaustively examines. Derrida
examines the history of the concept of sovereignty, engaging with
the work of Bodin, Hobbes, Rousseau, Schmitt, and others. Against
this background, he delineates his understanding of "democracy to
come," which he distinguishes clearly from any kind of regulating
ideal or teleological horizon. The idea that democracy will always
remain in the future is not a temporal notion. Rather, the phrase
would name the coming of the unforeseeable other, the structure of
an event beyond calculation and program. Derrida thus aligns this
understanding of democracy with the logic he has worked out
elsewhere. But it is not just political philosophy that is brought
under deconstructive scrutiny here: Derrida provides unflinching
and hard-hitting assessments of current political realities, and
these essays are highly engaged with events of the post-9/11 world.
This volume contains the speech given by Derrida at Emmanuel
Levinas's funeral on December 27, 1995, and his contribution to a
colloquium organized to mark the first anniversary of Levinas's
death. For both thinkers, the word "adieu" names a fundamental
characteristic of human being: the salutation or benediction prior
to all constative language (in certain circumstances, one can say
"adieu" at the moment of meeting) and that given at the moment of
separation, sometimes forever, as at the moment of death, it is
also the "a-dieu," for God or to God before and in any relation to
the other.
In this book, Derrida extends his work on Levinas in previously
unexplored directions via a radical rereading of "Totality and
Infinity" and other texts, including the lesser-known talmudic
readings. He argues that Levinas, especially in "Totality and
Infinity, " bequeaths to us an "immense treatise of hospitality," a
meditation on the welcome offered to the other. The conjunction of
an ethics of pure prescription with the idea of an infinite and
absolute hospitality confronts us with the most pressing political,
juridical, and institutional concerns of our time. What, then, is
an ethics and what is a politics of hospitality? And what, if it
ever "is, " would be a hospitality surpassing any ethics and any
politics we know?
As always, Derrida raises these questions in the most explicit of
terms, moving back and forth between philosophical argument and the
political discussion of immigration laws, peace, the state of
Israel, xenophobia--reminding us with every move that thinking is
not a matter of neutralizing abstraction, but a gesture of
hospitality for what happens and still may happen.
|
Life Death (Paperback)
Jacques Derrida; Edited by Pascale-Anne Brault, Peggy Kamuf; Translated by Pascale-Anne Brault, Michael Naas
|
R766
Discovery Miles 7 660
|
Ships in 9 - 15 working days
|
The seventh in our series of Derrida's seminars, Life Death
provides interdisciplinary reflections on the relationship of life
and death—now in paperback. One of Jacques Derrida’s most
provocative works, Life Death deconstructs a deeply rooted
dichotomy of Western thought: life and death. In rethinking the
relationship between life and death, Derrida undertakes a
multi-disciplinary analysis of a range of topics across philosophy,
linguistics, and the life sciences. Derrida gave this seminar over
fourteen sessions between 1975 and 1976 at the École normale
supérieure in Paris to prepare students for the agrégation, a
notoriously competitive exam. The theme for the exam that year was
“Life and Death,” but Derrida made a critical modification to
the title by dropping the coordinating conjunction. The resulting
title of Life Death poses a philosophical question about the close
relationship between life and death. Through close readings
of Freudian psychoanalysis, the philosophy of Nietzsche and
Heidegger, French geneticist François Jacob, and epistemologist
Georges Canguilhem, Derrida argues that death must be considered
neither as the opposite of life nor as the truth or fulfillment of
it, but rather as that which both limits life and makes it
possible. Derrida thus not only questions traditional
understandings of the relationship between life and death but also
ultimately develops a new way of thinking about what he calls
“life death.”
For Strasbourg consists of a series of essays and interviews about
the city of Strasbourg and the philosophical friendships Jacques
Derrida developed there over a period of some forty years. Written
just months before his death, the opening essay, "The Place
Name(s): Strasbourg," recounts in detail, and in very moving terms,
Derrida's deep attachment to this French city on the border between
France and Germany. More than just a personal narrative, however,
the essay is a profound interrogation of the relationship between
philosophy and place, philosophy and language, and philosophy and
friendship. As such, it raises a series of philosophical,
political, and ethical questions that might all be placed under the
aegis of what Derrida once called "philosophical nationalities and
nationalism." The other three texts included in the book are long
interviews/conversations between Derrida and his two principal
interlocutors in Strasbourg, Jean-Luc Nancy and Philippe
Lacoue-Labarthe. These interviews are significant both for the
themes they focus on (language, politics, friendship, death, life
after death, and so on) and for what they reveal about Derrida's
relationships to Nancy and Lacoue-Labarthe. Filled with sharp
insights into one anothers' work and peppered with personal
anecdotes and humor, the interviews bear witness to the
decades-long intellectual friendships of these three important
contemporary thinkers. This collection thus stands as a reminder of
and testimony to Derrida's unique relationship to Strasbourg and to
the two thinkers most closely associated with that city.
Athens, Still Remains is an extended commentary on a series of
photographs of contemporary Athens by the French photographer
Jean-Francois Bonhomme. But in Derrida's hands commentary always
has a way of unfolding or, better, developing in several unexpected
and mutually illuminating directions. First published in French and
Greek in 1996, Athens, Still Remains is Derrida's most sustained
analysis of the photographic medium in relationship to the history
of philosophy and his most personal reflection on that medium. At
once photographic analysis, philosophical essay, and
autobiographical narrative, Athens, Still Remains presents an
original theory of photography and throws a fascinating light on
Derrida's life and work. The book begins with a sort of verbal
snapshot or aphorism that haunts the entire book: "we owe ourselves
to death." Reading this phrase through Bonhomme's photographs of
both the ruins of ancient Athens and contemporary scenes of a
still-living Athens that is also on its way to ruin and death,
Derrida interrogates a philosophical tradition that runs from
Socrates to Heidegger in which the human-and especially the
philosopher-is thought to owe himself to death, to a certain
thought of death or comportment with regard to death. Combining
philosophical speculations on mourning and death, event and
repetition, and time and difference with incisive commentary on
Bonhomme's photographs and a narrative of Derrida's 1995 trip to
Greece, Athens, Still Remains is one of Derrida's most accessible,
personal, and moving works without being, for all that, any less
philosophical. As Derrida reminds us, the word photography-an
eminently Greek word-means "the writing of light," and it brings
together today into a single frame contemporary questions about the
work of art in the age of mechanical reproduction and much older
questions about the relationship between light, revelation, and
truth-in other words, an entire philosophical tradition that first
came to light in the shadow of the Acropolis.
In the three essays that make up this stimulating and often
startling book, Jacques Derrida argues against the notion that the
basic ideas of psychoanalysis have been thoroughly worked through,
argued, and assimilated. The continuing interest in psychoanalysis
is here examined in the various "resistances" to
analysis--conceived not only as a phenomenon theorized at the heart
of psychoanalysis, but as psychoanalysis's resistance to itself, an
insusceptibility to analysis that has to do with the structure of
analysis itself.
Derrida not only shows how the interest of psychoanalysis and
psychoanalytic writing can be renewed today, but these essays
afford him the opportunity to revisit and reassess a subject he
first confronted (in an essay on Freud) in 1966. They also serve to
clarify Derrida's thinking about the subjects of the essays--Freud,
Lacan, and Foucault--a thinking that, especially with regard to the
last two, has been greatly distorted and misunderstood.
The first essay, on Freud, is a tour de force of close reading of
Freud's texts as philosophical reflection. By means of the fine
distinctions Derrida makes in this analytical reading, particularly
of "The Interpretation of Dreams, " he opens up the realm of
analysis into new and unpredictable forms--such as meeting with an
interdiction (when taking an analysis further is "forbidden" by a
structural limit).
Following the essay that might be dubbed Derrida's "return to
Freud," the next is devoted to Lacan, the figure for whom that
phrase was something of a slogan. In this essay and the next, on
Foucault, Derrida reencounters two thinkers to whom he had earlier
devoted important essays, which precipitated stormy discussions and
numerous divisions within the intellectual milieus influenced by
their writings. In this essay, which skillfully integrates the
concept of resistance into larger questions, Derrida asks in
effect: What is the origin and nature of the text that constitutes
Lacanian psychoanalysis, considering its existence as an archive,
as teachings, as seminars, transcripts, quotations, etc.?
Derrida's third essay may be called not simply a criticism but an
appreciation of Foucault's work: an appreciation not only in the
psychological and rhetorical sense, but also in the sense that it
elevates Foucault's thought by giving back to it ranges and nuances
lost through its reduction by his readers, his own texts, and its
formulaic packaging.
Winner, French Voices Grand Prize Nostalgia makes claims on us both
as individuals and as members of a political community. In this
short book, Barbara Cassin provides an eloquent and sophisticated
treatment of exile and of desire for a homeland, while showing how
it has been possible for many to reimagine home in terms of
language rather than territory. Moving from Homer's and Virgil's
foundational accounts of nostalgia to the exilic writings of Hannah
Arendt, Cassin revisits the dangerous implications of nostalgia for
land and homeland, thinking them anew through questions of exile
and language. Ultimately, Cassin shows how contemporary philosophy
opens up the political stakes of rootedness and uprootedness,
belonging and foreignness, helping us to reimagine our relations to
others in a global and plurilingual world.
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
Winner, French Voices Grand Prize Nostalgia makes claims on us both
as individuals and as members of a political community. In this
short book, Barbara Cassin provides an eloquent and sophisticated
treatment of exile and of desire for a homeland, while showing how
it has been possible for many to reimagine home in terms of
language rather than territory. Moving from Homer's and Virgil's
foundational accounts of nostalgia to the exilic writings of Hannah
Arendt, Cassin revisits the dangerous implications of nostalgia for
land and homeland, thinking them anew through questions of exile
and language. Ultimately, Cassin shows how contemporary philosophy
opens up the political stakes of rootedness and uprootedness,
belonging and foreignness, helping us to reimagine our relations to
others in a global and plurilingual world.
The initial provocation for The Truth of Democracy was the fortieth
anniversary of May '68 and the recent criticism (some by French
President Nicolas Sarkozy himself) leveled against the ideals and
actors at the center of this important but still misunderstood
moment in French history. Nancy here defends what he calls simply
"68" without apology or equivocation, calling it an essential stage
in the search for the "truth of democracy." Less a period within
time than a critical moment or interruption of time, 68 needs to be
understood, Nancy argues, as an "event" that provided a glimpse
into the very "spirit of democracy," a spirit that is linked not to
some common vision, idea, or desire (such as the nation, the
republic, the people, or humanity) but to an incommensurability
(the infinity of man or man's exceeding of himself ) at the origin
of democracy. Written in a direct and accessible, almost
manifesto-like style, The Truth of Democracy presents a forceful
plea that we rethink democracy not as one political regime or form
among others but as that which opens up the very experience of
being in common. By rearticulating many of the themes and terms he
has developed elsewhere (from community and being in common to the
singular plural) in relationship to an original analysis of what
was and still is at stake in May '68, The Truth of Democracy is at
once an eloquent summary of much of Nancy's work and a significant
development of it. It is as if, forty years after being first
scrawled across university walls and storefronts in France, one of
the most famous slogans of May '68 has received in The Truth of
Democracy its most eloquent and poignant theoretical elaboration:
"Be realistic, demand the impossible!"
The initial provocation for The Truth of Democracy was the fortieth
anniversary of May '68 and the recent criticism (some by French
President Nicolas Sarkozy himself) leveled against the ideals and
actors at the center of this important but still misunderstood
moment in French history. Nancy here defends what he calls simply
"68" without apology or equivocation, calling it an essential stage
in the search for the "truth of democracy." Less a period within
time than a critical moment or interruption of time, 68 needs to be
understood, Nancy argues, as an "event" that provided a glimpse
into the very "spirit of democracy," a spirit that is linked not to
some common vision, idea, or desire (such as the nation, the
republic, the people, or humanity) but to an incommensurability
(the infinity of man or man's exceeding of himself ) at the origin
of democracy. Written in a direct and accessible, almost
manifesto-like style, The Truth of Democracy presents a forceful
plea that we rethink democracy not as one political regime or form
among others but as that which opens up the very experience of
being in common. By rearticulating many of the themes and terms he
has developed elsewhere (from community and being in common to the
singular plural) in relationship to an original analysis of what
was and still is at stake in May '68, The Truth of Democracy is at
once an eloquent summary of much of Nancy's work and a significant
development of it. It is as if, forty years after being first
scrawled across university walls and storefronts in France, one of
the most famous slogans of May '68 has received in The Truth of
Democracy its most eloquent and poignant theoretical elaboration:
"Be realistic, demand the impossible!"
In the three essays that make up this stimulating and often
startling book, Jacques Derrida argues against the notion that the
basic ideas of psychoanalysis have been thoroughly worked through,
argued, and assimilated. The continuing interest in psychoanalysis
is here examined in the various "resistances" to
analysis--conceived not only as a phenomenon theorized at the heart
of psychoanalysis, but as psychoanalysis's resistance to itself, an
insusceptibility to analysis that has to do with the structure of
analysis itself.
Derrida not only shows how the interest of psychoanalysis and
psychoanalytic writing can be renewed today, but these essays
afford him the opportunity to revisit and reassess a subject he
first confronted (in an essay on Freud) in 1966. They also serve to
clarify Derrida's thinking about the subjects of the essays--Freud,
Lacan, and Foucault--a thinking that, especially with regard to the
last two, has been greatly distorted and misunderstood.
The first essay, on Freud, is a tour de force of close reading of
Freud's texts as philosophical reflection. By means of the fine
distinctions Derrida makes in this analytical reading, particularly
of "The Interpretation of Dreams, " he opens up the realm of
analysis into new and unpredictable forms--such as meeting with an
interdiction (when taking an analysis further is "forbidden" by a
structural limit).
Following the essay that might be dubbed Derrida's "return to
Freud," the next is devoted to Lacan, the figure for whom that
phrase was something of a slogan. In this essay and the next, on
Foucault, Derrida reencounters two thinkers to whom he had earlier
devoted important essays, which precipitated stormy discussions and
numerous divisions within the intellectual milieus influenced by
their writings. In this essay, which skillfully integrates the
concept of resistance into larger questions, Derrida asks in
effect: What is the origin and nature of the text that constitutes
Lacanian psychoanalysis, considering its existence as an archive,
as teachings, as seminars, transcripts, quotations, etc.?
Derrida's third essay may be called not simply a criticism but an
appreciation of Foucault's work: an appreciation not only in the
psychological and rhetorical sense, but also in the sense that it
elevates Foucault's thought by giving back to it ranges and nuances
lost through its reduction by his readers, his own texts, and its
formulaic packaging.
This volume contains the speech given by Derrida at Emmanuel
Levinas's funeral on December 27, 1995, and his contribution to a
colloquium organized to mark the first anniversary of Levinas's
death. For both thinkers, the word "adieu" names a fundamental
characteristic of human being: the salutation or benediction prior
to all constative language (in certain circumstances, one can say
"adieu" at the moment of meeting) and that given at the moment of
separation, sometimes forever, as at the moment of death, it is
also the "a-dieu," for God or to God before and in any relation to
the other.
In this book, Derrida extends his work on Levinas in previously
unexplored directions via a radical rereading of "Totality and
Infinity" and other texts, including the lesser-known talmudic
readings. He argues that Levinas, especially in "Totality and
Infinity, " bequeaths to us an "immense treatise of hospitality," a
meditation on the welcome offered to the other. The conjunction of
an ethics of pure prescription with the idea of an infinite and
absolute hospitality confronts us with the most pressing political,
juridical, and institutional concerns of our time. What, then, is
an ethics and what is a politics of hospitality? And what, if it
ever "is, " would be a hospitality surpassing any ethics and any
politics we know?
As always, Derrida raises these questions in the most explicit of
terms, moving back and forth between philosophical argument and the
political discussion of immigration laws, peace, the state of
Israel, xenophobia--reminding us with every move that thinking is
not a matter of neutralizing abstraction, but a gesture of
hospitality for what happens and still may happen.
|
Life Death (Hardcover)
Jacques Derrida; Edited by Pascale-Anne Brault, Peggy Kamuf; Translated by Pascale-Anne Brault, Michael Naas
|
R1,107
Discovery Miles 11 070
|
Ships in 12 - 17 working days
|
One of Jacques Derrida's richest and most provocative works, Life
Death challenges and deconstructs one of the most deeply rooted
dichotomies of Western thought: life and death. Here Derrida
rethinks the traditional philosophical understanding of the
relationship between life and death, undertaking multidisciplinary
analyses of a range of topics, including philosophy, linguistics,
and the life sciences. In seeking to understand the relationship
between life and death, he engages in close readings of Freudian
psychoanalysis, the philosophy of Nietzsche and Heidegger, French
geneticist Francois Jacob, and epistemologist Georges Canguilhem.
Derrida gave his "Life Death" seminar over fourteen sessions
between 1975 and 1976 at the Ecole normale superieure in Paris as
part of the preparation for students studying for the agregation, a
notoriously competitive qualifying exam. The theme for the exam
that year was "Life and Death," but Derrida made a critical
modification to the title by dropping the coordinating conjunction.
The resulting title of Life Death poses a philosophical question
about the close relationship between life and death. Derrida argues
that death must be considered neither as the opposite of life nor
as the truth or fulfillment of it, but rather as that which both
limits life and makes it possible. Through these captivating
sessions, Derrida thus not only questions traditional
understandings of the relationship between life and death, but also
ultimately develops a new way of thinking about what he calls "life
death."
For Strasbourg consists of a series of essays and interviews about
the city of Strasbourg and the philosophical friendships Jacques
Derrida developed there over a period of some forty years. Written
just months before his death, the opening essay, "The Place
Name(s): Strasbourg," recounts in detail, and in very moving terms,
Derrida's deep attachment to this French city on the border between
France and Germany. More than just a personal narrative, however,
the essay is a profound interrogation of the relationship between
philosophy and place, philosophy and language, and philosophy and
friendship. As such, it raises a series of philosophical,
political, and ethical questions that might all be placed under the
aegis of what Derrida once called "philosophical nationalities and
nationalism." The other three texts included in the book are long
interviews/conversations between Derrida and his two principal
interlocutors in Strasbourg, Jean-Luc Nancy and Philippe
Lacoue-Labarthe. These interviews are significant both for the
themes they focus on (language, politics, friendship, death, life
after death, and so on) and for what they reveal about Derrida's
relationships to Nancy and Lacoue-Labarthe. Filled with sharp
insights into one anothers' work and peppered with personal
anecdotes and humor, the interviews bear witness to the
decades-long intellectual friendships of these three important
contemporary thinkers. This collection thus stands as a reminder of
and testimony to Derrida's unique relationship to Strasbourg and to
the two thinkers most closely associated with that city.
Christian parables have retained their force well beyond the sphere
of religion; indeed, they share with much of modern literature
their status as a form of address: “Who hath ears to hear, let
him hear.” There is no message without there first being—or,
more subtly, without there also being in the message itself—an
address to a capacity or an aptitude for listening. This is not an
exhortation of the kind “Pay attention!” Rather, it is a
warning: if you do not understand, the message will go away. The
scene in the Gospel of John in which the newly risen Christ enjoins
the Magdalene, “Noli me tangere,” a key moment in the general
parable made up of his life, is a particularly good example of this
sudden appearance in which a vanishing plays itself out.
Resurrected, he speaks, makes an appeal, and leaves. “Do not
touch me.” Beyond the Christ story, this everyday phrase says
something important about touching in general. It points to the
place where touching must not touch in order to carry out its touch
(its art, its tact, its grace). The title essay of this volume is
both a contribution to Nancy’s project of a “deconstruction of
Christianity” and an exemplum of his remarkable writings on art,
in analyses of “Noli me tangere” paintings by such painters as
Rembrandt, Dürer, Titian, Pontormo, Bronzino, and Correggio. It is
also in tacit dialogue with Jacques Derrida’s monumental tribute
to Nancy’s work in Le toucher—Jean-Luc Nancy. For the
English-language edition, Nancy has added an unpublished essay on
the Magdalene and the English translation of “In Heaven and on
the Earth,” a remarkable lecture he gave in a series designed to
address children between six and twelve years of age. Closely
aligned with his entire project of “the deconstruction of
Christianity,’” this lecture may give the most accesible
account of his ideas about God.
In this brilliant essay, Jacques Derrida explores issues of
vision, blindness, self-representation, and their relation to
drawing, while offering detailed readings of an extraordinary
collection of images. Selected by Derrida from the prints
and drawings department of the Louvre, the works depict
blindness--fictional, historical, and biblical. From Old
and New Testament scenes to the myth of Perseus and the
Gorgon and the blinding of Polyphemus, Derrida uncovers in
these images rich, provocative layers of interpretation.
For Derrida drawing is itself blind; as an act rooted in
memory and anticipation, drawing necessarily replaces one
kind of seeing (direct) with another (mediated). Ultimately,
he explains, the very lines which compose any drawing are
themselves never fully visible to the viewer since they exist
only in a tenuous state of multiple identities: as marks on
a page, as indicators of a contour. Lacking a "pure"
identity, the lines of a drawing summon the supplement of the
word, of verbal discourse, and, in doing so, obscure the
visual experience. Consequently, Derrida demonstrates, the
very act of depicting a blind person undertakes multiple
enactments and statements of blindness and sight.
"Memoirs of the Blind" is both a sophisticated
philosophical argument and a series of detailed readings.
Derrida provides compelling insights into famous and lesser
known works, interweaving analyses of texts--including
Diderot's "Lettres sur les aveugles," the notion of
mnemonic art in Baudelaire's "The Painter of Modern "
"Life," and Merleau-Ponty's "The Visible and the"
"Invisible," Along with engaging meditations on the history
and philosophy of art, Derrida reveals the ways viewers
approach philosophical ideas through art, and the ways art
enriches philosophical reflection.
An exploration of sight, representation, and art,
"Memoirs of the Blind" extends and deepens the
meditation on vision and painting presented in "Truth and "
"Painting," Readers of Derrida, both new and familiar, will
profit from this powerful contribution to the study of the
visual arts.
|
|