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EN
The article investigates Merleau-Ponty’s late thought from the position of Derrida’s deconstruction, focusing on the possibility of thinking otherness in the framework of embodiment. We examine the thought movements in The Visible and the Invisible which open up such possibilities, as well as those which close them down. The basis for this investigation is a comparison of Derrida and Merleau-Ponty in relation to the thinking of Husserl, de Saussure, and Hegel. We demonstrate, above all, how Derrida’s deconstruction occupies a middle position between Merleau-Ponty and Hegel. In conclusion we outline an ambivalence which is to be found throughout Merleau-Ponty’s final work.
EN
In the article Haunted places of Eugeniusz Tkaczyszyn-Dycki, Szymon Trusewicz examines the poetry of Tkaczyszyn-Dycki in the light of Jacques Derrida’s hauntology. The ‘language of space’ originated by Gérard Genette is the starting point. It suggests that some methaphors connote the space beside its original, non-spatial meaning. To describe Tkaczyszyn-Dycki, the critics use such terms as ‘diversity’, ‘simultaneousness’, ‘co-presence’, which – according to the Author – reveals the essential relation between the space and the language in this poetry. The poetry of Tkaczyszyn-Dycki is analyzed through the figure of anachrony and the figure of displacement. The author focuses especially on the dates of his poetry, taking into account the biography of the poet. In each following volume, the artist seems to emphasize that some poems belong to different periods of time. Thus the anachrony becomes an artistic strategy of Tkaczyszyn-Dycki. Taking into consideration some terms of Janusz Sławiński, Trusewicz claims that space in the works of the poet does not fulfil only its basic role of ‘the container’ for characters and plot. Tkaczyszyn-Dycki renders the communication aspect more spacious and engage it in the scenery of poem, which already contains the autobiographical places (sensu Małgorzata Czermińska). In consequence, it produces a solid and complex knot of life and poetic output.
PL
Recenzja ksiązki: Maria Kostyszak, Spór z językiem. Krytyka ontoteologii w pismach Nietzschego, Heideggera i Derridy, Wrocław: Arboretum, 2010
PL
Recenzja ksiązki: Maria Kostyszak, Spór z językiem. Krytyka ontoteologii w pismach Nietzschego, Heideggera i Derridy, Wrocław: Arboretum, 2010
FR
In this article I endeavour to tackle the myth of Derrida’s untranslatability. First, I present the theoretical basis for my research – Henri Meschonnic’s poetics of translation. Then, I try to determine the factors which make translating Derrida’s texts difficult: the polysemy of his most important terms and the “terminological fields,” that is all the terms related to each other. Two examples of these fields support my argument. Finally, I analyse some Polish translations of Derrida’s text and show linguistic difficulties in Polish translations of La différance and other texts, where not only the Derridean style, but also grammar, vocabulary, and expertise in philosophy leave a lot to be desired.
PL
Posteuropocentryczny i postkolonialny ton prowadzonej przez francuskich intelektualistów krytyki tradycji intelektualnej Zachodu jest genetycznie związany z doświadczeniem dekolonizacji, która była procesem nie tylko politycznym, militarnym i gospodarczym, ale też filozoficznym i światopoglądowym, przy czym te wszystkie jej aspekty były wzajemnie ze sobą splecione. Polemizuję ze stanowiskiem polegającym na traktowaniu kształtującego się wówczas postkolonialnego tonu krytyki nauki europejskiej i leżących u jej podstaw założeń metafizycznych w oderwaniu od doświadczania politycznego aspektu dekolonizacji. Jeśli weźmiemy pod uwagę biografie intelektualistów, którzy odcisnęli największe piętno na humanistyce drugiej połowy XX wieku (np. Jacques’a Derridy), debata ponowoczesności i końcu metafizyki, wbrew utartej interpretacji, mniej ma wspólnego z abstrakcyjną krytyką Kartezjańskiego podmiotu niż z realiami politycznymi rozpadu francuskiego imperium kolonialnego, zwłaszcza wojny o niepodległość Algierii. Derrida podkreślający swój hybrydowy status kulturowy wiele uwagi poświęca pogranicznemu charakterowi uprawianej przez siebie filozofii, z nietożsamości czyniąc jeden z jej głównych tematów i znaków rozpoznawczych. Poprzez dekonstrukcję europocentryzmu i szerzej pojętego okcydentalizmu Derrida rozumiał poddanie krytyce globalnego systemu dominacji. Filozofia Derridy wyrastająca z doświadczeń intelektualisty dojrzewającego na peryferiach skolonizowanego świata jest narzędziem, którym posługuje się on w celu pozbawienia w dziełach Derridy, nie zamyka się w obrębie jednej teorii, lecz znajduje się wewnątrz całej współczesnej myśli humanistycznej, nadając jej dynamikę, a zarazem rozsadzając, tzn. nie pozwalając ustanowić trwałej tożsamości. Poszukując w pracach Derridy dróg, którymi może podążać zachodnia myśl krytyczna, natrafiamy na świadectwa tego, że nie jest ona, a może nawet nigdy nie była „zachodnia” w sensie, jaki temu słowu nadaje język tożsamości, i że właśnie jej nietożsamość jest warunkiem pozytywności.
EN
Posteuropocentric and postcolonial animus in French intellectuals’ criticism of the Western intellectual tradition is genetically tied to the experience of decolonization, which was not just a political, military and economic process, but also one of philosophy and worldview. All those aspects were closely woven together. I am polemical towards the outlook treating the shaping of the then-contemporary postcolonial tone in the criticism of European sciences and their metaphysical grounding in separation with the aspect of the political experience of the decolonization process. If we take under consideration the biographies of intellectuals who have left the biggest mark on the humanities of the second half of the XXth century (e.g. Jacques Derrida), then the debate on post-modernity and the end of metaphysics has, in spite of the common view, less to do with abstract criticism of the Cartesian subject than with political realities of the collapse of the French colonial empire, and the Algerian War of Independence in particular. Derrida, who highlighted his hybrid cultural status, gave a lot of attention to the liminal character of his philosophy, making nonidentity one of his main objects of interest. By deconstructing europocentrism and widely-understood occidentalism, Derrida understood criticism of a global system of domination. Derrida’s philosophy, stemming from the experiences of an intellectual raised on the periphery of a colonized world is a tool he used to take away from the metropole the metaphysical groundings of the power it held. Anticolonial or postcolonial timbre in analyzed Derrida’s works is not limited to a single theory, but is at home at the heart of the entirety of contemporary humanities. It gives it its dynamism, but also blows it up, allowing no stable identity. In searching for ways that Western critical thought can follow after the works of Derrida, we find evidence that it is not, and maybe has never been “Western” in the sense that the language of identity implies, and that it is its nonidentity that makes it positive.
PL
Przedmiotem artykułu jest analiza różnic w zakresie filozoficzno-politycznych im­plikacji postmodernistycznej idei dekonstrukcji oraz hermeneutycznej idei autorytetu. W niniejszym tekście przyglądam się temu, w jaki sposób krytyka podstawowych kategorii kulturowych przekłada się na stosunek do trwałości porządku społeczno-politycznego. Znana jest krytyka postmodernizmu (a także hermeneutyki) przeprowadzona przez Jurgena Habermasa, zdaniem którego odejście od idei uniwersalności rozumu (choćby w postaci powszechnie ważnych warunków wolnej komunikacji) przekłada się na relatywizm etyczno-polityczny. Moim zdaniem problem z postmodernizmem jest głębszy. Wysnuwam zatem tezę, że postmodernizm, odrzucając obiektyw­ność zarówno ontologiczną, jak i podmiotową, zakłada jednak obiektywność samej dekonstrukcji (w sensie działania politycznego, a nie rozumowania czy procedury naukowej). Tymczasem herme­neutyka Gadamerowska, narażona na zarzut historyzmu i relatywizmu, broni się przed nimi dzięki idei autorytetu.
EN
The subject of the article is the analysis of differences in the philosophical and political implications of the postmodernist idea of deconstruction and the hermeneutic idea of authority. In this text, I deal with the question of how the critique of basic cultural categories translates into the attitude to the permanence of the socio-political order. There is a known critique of post­modernism (as well as hermeneutics), conducted by Jurgen Habermas, in which the departure from the idea of the universality of reason (even in the form of universally important conditions of free communication) translates into ethical and political relativism. In my opinion, the problem with postmodernism is deeper. My thesis is that postmodernism, rejecting ontological and subjective ob­jectivity, assumes, however, the objectivity of deconstruction itself (in the sense of political action, not reasoning or scientific procedure). Meanwhile, Gadamer’s hermeneutics, exposed to the charge of historicism and relativism, defend themselves against them thanks to the idea of authority.
KO
영화 <귀향>은 두 한국인 “위안부” 여성을 통하여 과거와 현재를 연결하며, 그들의 삶과 고뇌, 애도를 그려낸다. 본 논문에서는 데리다의 애도 개념을 바탕으로 주요 등장인물과 영화가 구현하는 애도를 분석하며, <귀향>에서 재현된 애도가 한국인 관객에게 미치는 영향 또한 논하고자 한다. 그 과정에서, 재현된 “위안부”의 이미지에 반영되어 있는 가부장적, 국가주의적 이데올로기가 어떻게 “위안부”를 한국 사회 내 궁극적인 피해자로 위치시키는지 분석하고자 한다.
PL
Film Spirits’ Homecoming łączy przeszłość i teraźniejszość za pośrednictwem sylwetek dwóch koreańskich kobiet i ujawnia ich życie, udrękę i żałobę. W oparciu o koncepcję żałoby Derridy, niniejszy artykuł analizuje żałobę głównych bohaterek filmu. Co więcej, koncentruje się na tym, jak koreańscy widzowie zareagowali na cierpienie prezentowane w Spirits’ Homecoming. Artykuł stanowi także swoistą krytykę sposobu odzwierciedlenia panujących ideologii patriarchatu i nacjonalizmu w omawianym filmie przy pomocy złożoności problemu kobiet-pocieszycielek. Film bowiem wskazuje przypisany przez wzmiankowane ideologie status kobiet-pocieszycielek jako ofiar.
EN
The movie Spirits’ Homecoming connects the past and the present through two Korean “comfort women” and reveals their life, anguish and mourning. Based on Derrida’s concept of mourning, this paper analyzes mourning of the main characters and the movie. Furthermore, it focuses on how Korean viewers reacted through mourning presented in Spirits’ Homecoming. By doing so, this paper criticizes how the film’s vivid representation of “comfort women” reflects patriarchal and nationalist ideologies which position the “comfort women” as the ultimate victims in Korean society.
PL
Z Jakubem Momrą rozmawiają Michał Kłosiński i Magdalena Łachacz
EN
"Meeting" is one of these concepts, which in the most recent philosophy have received significant meaning. In some interpretations it is the instruction to "meet" – so to establish the unmediated relation with the Other – is the factor, which allows to break free from the pressure of the "Hegelian bite" and problems resulting from it. It turns out that the ennoblement of the subject made by the German idealism in fact limited the reality only to its exteriorisation – and thus put into question the possibility of reaching the reality, including the reality of other people. "Meeting" would be the bridge thanks to which this reach (again) becomes possible. However, it seems that speaking about the "meeting" we still too rarely think about the prerequisites, which must be met, so that the subject can open itself to accept the Other. This is an important analysis because, first of all, it allows to judge whether the whole project of the postphenomenological philosophy can be defended in the practical perspective, and secondly – it is a key indicator that allows the further development of the human thought. It turns out that for the elementary human experience the "meeting" is not an excess, and the opening to what is unusual is the natural element of the existence of human cultures. And this instruction should be used in today's philosophizing – in order to overcome the basic aporias of modernity with its edge.
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Descartes, Foucault, Derrida

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EN
The article offers a detailed interpretation of Foucault’s and Derrida’s readings of the passages about madness and dreaming in Descartes’ First Meditation. The article begins by focusing on Descartes’ text and Foucault’s original reading of it in his History of Madness, a reading clearly determined by the overall direction of Foucault’s first great book. It then inquires into Derrida’s criticism of Foucault in “Cogito and the History of Madness”, and shows how Foucault, in his rejoinder, „My Body, This Paper, This Fire“, subtly changes his original line of interpretation. In fact, Foucault’s new reading, strongly emphasising the meditative dimension of Descartes’ text, directly anticipates the key issues treated by Foucault in his final period. As for Derrida’s dialogical approach to Descartes’ Meditation, the article submits that it may have been directly influenced by a passage on dreaming from Descartes’ later Search for Truth. Besides these particular points and some further detailed analyses, the article summarises the wider implications of the dispute for our understanding of the philosophical positions of both thinkers.
EN
Jacques Derrida (1930-2004), master of the deconstructionist method and recognized as one of the greatest thinkers of our time, was in his youth, before beginning his career as a philosopher, a footballer who played this game with the Italian prisoners in Algiers, his birthplace, during World War II. In a 1991 interview, when he was 60, Derrida narrated in detail his childhood dream of becoming a professional football player, confiding that all of his philosophy and thought had been inspired by sport and the game of football. Starting from this biographical note, the aim of my study is to demonstrate, first of all, how Derrida's whole philosophy and technique of deconstruction really has its roots in the concept of sport. The French-Algerian philosopher understood sport as a cultural structure based on the concepts of play, game, body, rules, and all of the oppositional pairs deriving from différance and from the tensions it generates. Secondly, the study tries to show how sport is for Derrida a metaphor of life and its meaning, suspended between being and nothingness; a place and a field in which human beings act, learn and educate themselves, deconstructing, as in a text, the values and prejudices of their lives and understanding, through sport itself, their roles and responsibility toward themselves and the community in which they live.
EN
The deconstruction is a hearing, a decision and a recitation of the Word. Thus, deconstruction is “opening the word.” We may also assert that deconstruction is a kind of “maieutica “ given that there is a “birth” of the Word. Finally, we describe the “deconstruction” as the host of the host as well as the hospitality of hospitality. It is the “host pure.” Deconstruction is the sovereignty of the Word, is the power of the Word and thus assumed as “hearing the word.” This hearing is the “best part”, as found in the hospitality of Bethany. Thus, deconstruction is “to-come”. Deconstruction is the way of the “to-come” of the Therefore the deconstruction is hospitality and the hospitality is deconstruction, and is founded by the “parusia”.
EN
The text juxtaposes two different understandings of religion, the first: Hegelian, where it functions as an imaginary representation of the concept, and the second: Derridean, which confronts and radicalizes the idea of the death of God. At the center of their juxtaposition is the process of abstraction and the religious figure of the “desert” which both authors use to illustrate it. Central to Derrida’s thinking of religion, understood as a figure of relentless negativity in search of difference, a “desert” can also be found in Hegel’s exploration of “unhappy consciousness,” where it is used in reference to the crusaders and serves as a metonymy of the futile imaginary association of Christ’s divinity with his actual, individual body. The text sets out to complicate what Hegel understands as the abstract nature of Christ’s body and body in general with reference to Derridean gesture of religious purification and through the analysis of Saint Thomas, a work by a baroque painter, Georges de La Tour which is analyzed as an embodiment of the complex relations between religious abstraction and image.
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PL
Autorka artykułu zestawia ze sobą dwie próby przeciwstawienia się koncepcji Sein zum Tode Heideggera (przeżycie Jacquesa Derridy oraz „żyć aż do śmierci” Paula Ricoeura). Ich pozorna bliskość (deklarowana przez Ricoeura) jest inspiracją do dyskusji na temat pozytywności Derridiańskiej dekonstrukcji. Ricoeurowskie rozumienie życia wydaje się uniemożliwiać zrozumienie dekonstrukcji jako wierności innemu nie w jego tożsamości, lecz różnicy.
EN
The neo-Kantian, deontological liberal theory seeks to overcome the paradoxes of tolerance. It claims to accomplish this task by grounding tolerance in purportedly universal higher-order moral reasoning. I argue that in reality, such an approach cannot separate tolerance from particular ethical norms or empirical realities. For this reason, it cannot resolve the paradoxes of tolerance. However, I contend there is another path to account for the value of tolerating “others”. Jacques Derrida’s deconstruction provides us the way to retain the necessarily particularistic character of tolerance, without forfeiting its context-transcending, “universalistic” potential. In this article, I show that the paradoxes of tolerance need to be maintained as quasi-transcendental structures, instead of being discarded in the name of higher-order moral reasoning.
Praktyka Teoretyczna
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2016
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vol. 19
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issue 1
290-303
EN
The article is a critical reading of Jacques Derrida’s Spectres of Marx. Apart from presenting the Eagleton's and Negri’s critical interpretations and philosophical unproductiveness of Derrida's proposals, I also try to show their inability to fulfill the ethical and political promises, which they makes.
PL
Artykuł jest krytyczna interpretacją Widm Marksa Jacquesa Derridy. Obok przedstawienia krytycznych odczytań Eagletona czy Negriego, próbuję pokazać nie tylko filozoficzną jałowość propozycji Derridy, ale także niezdolność do wywiązania się z politycznych i etycznych obietnic, które składa.
EN
The paper discusses Georges Bataille’s endeavor to express “the Impossible” by means of specific language employed first and foremost in his works of literary fiction (L’Histoire de l’oeil (Story of the Eye), Madame Edwarda, Le bleu du ciel (Blue of Noon). This is carried out by first providing a general outline of Bataille’s philosophical thought with due attention drawn to the aporias that open up before all projects of heterology inasmuch as they seek to both approximate and communicate the experiences that elude rational thought and language which traditionally works at its service. What follows is a description and explication of the literary and performative means which Bataille employs in his fiction in order to authenticate his depictions of the “inner experience” and the figure of “the Impossible”. Several of the most prominent theoretical approaches to the specificity of Bataille’s transgresssive écriture are referred to and further contrasted with the philosopher’s consistent dissatisfaction with the limitations that language and rational, sense-oriented thought poses to the task of voicing the essence of the “inner experience”. The article concludes with the argument that even literature cannot free itself from pragmatic utility resulting from the structural limitations of language. What literature can achieve, however, is to point to the Impossible and inexpressible, and endlessly invoke and respond to it. Regarded in this way, Bataille’s revelatory language can be considered in a wider, French poststructuralist context, which emphasises the position of Heidegger as a reference point for Derrida and Blanchot.
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The article discusses zoomorphism as part of the anthropocentric discourse aimed at establishing human dominance over animals. Basing on Jacques Derrida’s 1997 paper “The Animal That Therefore I Am (More to Follow),” the article approaches anthropomorphism and zoomorphism as culturally sanctioned ways of misrepresenting animality and shaping human attitudes towards real-life animals. A symptom of the misrepresentation is the gap between animals and their linguistic denotations. The specific aim of the article is to demonstrate that zoomorphism as used in everyday language conserves the human-centered vision of the world by ignoring the differences between individual animals. The discussion concludes by arguing that zoomorphism can be remedied by the individualizing aspects of anthropomorphism.
20
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In this paper I argue that there is an affinity between the ‘dissident’ in Havel’s essay “The Power of the Powerless” and the ‘spectre’ in Derrida’s readings of Marx. Both are manifestations of a specific modern temporality that Derrida calls “disjointed”, because it is haunted by a revolutionary force and claim for justice. Both also evoke the weak messianic power inherent in Walter Benjamin’s historiography and the spectral responsibility recognised by this power, that is, our responsibility for past and future generations. In post-totalitarian Czechoslovakia, the “nonpolitical” dissident community prefigured the renewal of moral experiences of responsibility and solidarity. In contemporary discussions of democracy, the figure of the spectre is a reminder of the significance of the Marxist legacy beyond its ideological doctrine.
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