Bøker av Jacques Derrida

This book, written out of Derrida's long-standing friendship with Jean-Luc Nancy, examines the central place accorded to the sense of touch in the Western philosophical tradition.

"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? 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 second year of the seminar, which considers an Islamic problematic of hospitality, the relevance of forgiveness, and the work of Emmanuel Levinas."--

"In Hospitality, Volume I, Jacques Derrida continues a seminar series he inaugurated in 1991 under the general title of "Questions of Responsibility." Delivered at the âEcole des Hautes âEtudes en Sciences Sociales (EHESS) in Paris from November 1995 through June 1996, the seminar is guided by questions that focus on responsibility and "the foreigner": How is the foreigner welcomed and/or repressed? What does the notion of the foreigner reveal about kinship, ethnicity, the city, the state, and the nation? What are the stakes of the opposition between friend and enemy? How should we think of this in relation to borders, citizenship, displaced populations, immigration, exile, asylum, integration, assimilation, xenophobia, and racism? Derrida approaches these questions through readings of several classical texts as well as more modern texts from Heidegger, Arendt, and Camus, among others. Central to his project is a rigorous distinction between conventional hospitality (always finite and conditional) and the idea of a hospitality open unconditionally to the newcomer"--

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

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.

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

"A new translation of Derrida's groundbreaking juxtaposition of Hegel and Genet, forcing two incompatible discourses into dialogue with each other"--

This book explores the idea of "traveling with" the philosopher of deconstruction. Malabou's readerly text of quotations and commentary demonstrates how Derrida's work functions as a counter-Odyssey through meaning, theorizing and thematizing notions of arrival, drifting, derivation, and catastrophe.

"Derrida is one of the few Continental philosopher-critics as esteemed for his writings about visual topics as for his attention to more textually based subjects. This volume collects key and scarce writings about the making and apprehension of "visual objects," though the chief focus is on drawing, painting, and photography (with sorties into video and film). What preoccupied Derrida when it came to the visual arts is visibility: what does a pencil actually trace-make visible- when someone is making a drawing? What aspect of the drawing documents the artist's thought and what part documents an external object? What comes from painting other than a painting? The writings collected range from essays originally published in small magazines and journals to never-before translated talks and interviews. There are 19 pieces in all, of which seven have been previously published in English.. The rest have been translated into English for the first time. None is included in the Press's already substantial inventory of works by Derrida. The collection comprises three thematic sections: (1) "The Traces of the Visible" is attuned to the field's preoccupation with the "trace," what is an "image," visibility, and space. (2) "Rhetoric of the Line: Painting, Drawing" engages nearly every register in which one can experience art: the materiality of line and text, the eros of aesthetic experience, the politics of color, and the components of painting, writing and drawing taken together. (3) "Spectralities of the Image: Photography, Video, Cinema and Theatre" explores the media we most readily associate with modern and contemporary art practices"--

"This book is an event in Derrida scholarship, as it marks the publication of a long-lost Derrida text simply as "Geschlecht III," which the French philosopher never completed. Part of a series of reflections that represent his most sustained engagement with the writings of Martin Heidegger, this third part was thought by Derrida himself to be the heart of his Geschlecht series. The enigmatic word itself has several meanings in German, and Derrida teases out its implications for topics as diverse and provocative as sexual difference, nationalism, race, and humanity, engaging with Heidegger's controversial oeuvre throughout, as well as a host of other philosophical thinkers and even poetic ones, in the case of Georg Trakl. Thanks to the meticulous editorial work of Geoffrey Bennington, Katie Chenoweth, and Rodrigo Therezo, and vividly rendered by Chenoweth and Therezo's translation, Derrida's most mysterious text, awaited for decades, is finally available for new generations to ponder"--

Translation of: Heidegger: la question de l'aetre et l'histoire.

This book brings together five encounters. They include the date or signature and its singularity; the notion of the trace; structures of futurity and the "to come"; language and questions of translation; such speech acts as testimony and promising; the possibility of the impossible; and the poem as addressed and destined beyond knowledge.

Advances the author's reflections on many issues, such as sexual difference, architecture, negative theology, politics, war, nationalism, and religion.

H. C. for Life, That Is to Say . . . is Jacques Derrida's tribute to Helene Cixous-the author, her works, and their lifelong mutual reading and intellectual friendship.

Originally published in 1995, Advances was first written by Jacques Derrida as a long foreword to a book by one of his most promising former students, the philosopher Serge Margel\u2019s Le Tombeau du Dieu Artisan (The Tomb of the Craftsman). What Derrida uncovers for us is Margel\u2019s own unique theory of the promise in relation to an an-archic, pre-chronological temporality, in conjunction with Margel\u2019s radical rereading of Plato\u2019s Timaeus. As Derrida states right away, Margel\u2019s reading is a new one, a new reading of the Demiurge. A new promise. A new advance. In this magisterial late essay by Derrida, what the reader soon discovers is in part a conversation with his former student, as well as an opening for a new reflection on our current ecological and political crises that are all the more urgent today where the possibility of giving ourselves death as a human race and the end of the world is now, within an era of climate change, more real than ever.As part of Univocal\u2019s Pharmakon series, this essay, itself published in advance, becomes a brief but powerful light pointing toward Univocal\u2019s forthcoming publication of the translation of Serge Margel\u2019s Le Tombeau du Dieu Artisan. \u201cOnce again the Timaeus, of course, but a different Timaeus, a new Demiurge, I promise.\u201d

In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art on Antonin Artaud. Artaud the Moma reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. It is a powerful interjection into the museum halls, a crucial moment in Derrida's thought, and an insightful reading of a challenging writer and artist.

Three renowned philosophers discuss the work of Martin Heidegger, and the moral quandary of engaging with a major philosopher who was also a Nazi. In February 1988, philosophers Jacques Derrida, Hans-Georg Gadamer, and Philippe Lacoue-Labarthe came together in Heidelberg before a large audience to discuss the philosophical and political implications of Martin Heidegger's thought. Heidegger's involvement in Nazism has always been an unsettling stain on his legacy. But what is its real relation to his work in phenomenology or hermeneutics? What are the responsibilities of those who read, analyze, and elaborate this thought? And what is at stake should this important but compromised philosopher be completely dismissed? The reflections presented by three of the most prominent of Heidegger's readers, spoken in French and transcribed here, were an attempt to approach these questions before a broad public while maintaining a nuanced view of the questions at issue. Ranging over two days and including exchanges with one another and with the audience, the discussions pursued by these major thinkers remain highly relevant today. Also included are a forward by Jean-Luc Nancy and a preface by Reiner Wiehl.

One of contemporary criticism's most indispensable works, Of Grammatology is made even more accessible and usable by this new release.

The first English-language translations of writings from the last years of Jacques Derrida's life

The eminent philosopher pays homage to his beloved French city and the philosophical friendships he had there';an illuminating addition to his legacy' (The Times Literary Supplement). A towering figure in twentieth-century philosophy, Jacques Derrida was born in Algeria, but spent four decades living in the French city of Strasbourg, located on the border between France and Germany. This moving collection of writings and interviews about his life there opens with ';The Place Name(s): Strasbourg,' an essay written just a month before his death which recounts his deep attachment to his adoptive home. 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.' Also included are transcribed conversations between Derrida and his two principal interlocutors in Strasbourg, Jean-Luc Nancy and Philippe Lacoue-Labarthe. These interviews are significant for the themes they focus onfrom language and politics to friendship and life after deathand for what they reveal about Derrida's relationships to Nancy and Lacoue-Labarthe. Filled with sharp insights into one another's work and peppered with personal anecdotes and humor, the interviews bear witness to the long intellectual friendships of these three important thinkers.

" 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 distinguished author's own relationship to the French language. Its argument touches on several issues relevant to the current debates on multiculturalism.