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1

THE BODY AS A MULTIDIMENSIONAL DRAMATIC REALITY (WOMAN-BOMB BY IVANA SAJKO) (Cialo jako wielowymiarowa rzeczywistosc dramatyczna (Kobieta-bomba Iwany Sajko)

100%
Bartosiewicz G.
Pamiętnik Słowiański
|
2009
|
vol. 59
|
issue 1
55-71
EN
This paper is devoted to a detailed analysis of body images, its functions and roles that it plays in Ivana Sajko's drama titled 'Woman-bomb' (Zena-bomba, 2003). The writer in her play presents 12 minute and 36 second monologue of a woman-suicide bomber before detonating the explosive. The attractive literary strategies show important changes in the emotional, biological, cultural and social constructions of the Modern Woman. Presented by Sajko body creations reveal contemporary vision of the changing, transforming and labile Body. This crossing point between Nature and Culture - as a new character and dimension - took over the remaining discourses of the modern literature. The new representation of the embodied female subject, that feels, speaks and shows, confirms its tendency towards (self-)destruction and (de)composition to achieve the (self-)realisation.
2

ON JEAN-LUC NANCY'S PROJECT FOR THE 'DECONSTRUCTION OF CHRISTIANITY'

80%
Nawrocki A.
Kwartalnik Filozoficzny
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2007
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vol. 35
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issue 1
37-59
EN
This article discusses an attempt to answer the question posed by Jean-Luc Nancy in his book entitled 'La Déclosion': 'Is the Jew-Greek that Derrida describes at the end of 'Violence and Metaphysics' not a Christian?' At the beginning, the author outlines the issues that are introduced by the uncertainty expressed in this question concerning the nature of Christianity and attempts to present the basic theses of deconstruction as viewed by Nancy. Next, the author describes a fragment of the Book of James (James 1, 17) that describes the godly gifts. The traits of Jewish and non-Christian thought included in this fragment are pointed out. The next part emphasizes the aspect of the specifically Christian attitude towards the question of godly gifts. Thus, the author indicates that in the Christian view of this issue there is content that it is impossible to find in Jewish and non-Christian Greek thought. In conclusion, the author draws attention to the concurrence of the conclusion with certain findings of contemporary phenomenology.
3

On the 'turns', or, a few remarks on so-called literary communication

80%
Bartoszynski K.
Teksty Drugie (Second Texts)
|
2007
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issue 3(105)
233-238
EN
This article polemicises with one thesis contained in Anna Burzynska's book 'Anty-teoria literatury' (Literary anti-theory), Universitas publishers, Kraków 2006. He analyses a deconstructive criticism of the literary communication model, coming to the conclusion that it is unjust to juxtapose a communicationist, passive theory of reading, enclosed by models, and a theory of active and open-ended reading. He emphasises that the principle of reading-related activism, as postulated by deconstructivists, constitutes broadened knowledge on literary communication, whilst not being a critical 'turn' that apodictically crosses out the issue's theoretical past.
4
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THE HOMELESSNESS OF ODYSSEUS (Bezdomnosc Odyseusza)

80%
Michera W.
Konteksty - Polska Sztuka Ludowa
|
2010
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vol. 64
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issue 2-3(289-290)
12-18
EN
Ithaca is the arche and telos of Odysseus' journey - the home, conceptualised as a permanent and reliable pole of human existence, contrasted with magical, fictional lands that cannot be localised on a map. The author, however, presents the non-obvious nature of this classical opposition (domi /foris) and reveals the deconstructive potential of Homer's Odyssey. He does so by focusing on two particular elements of the narration: the first is the cyclical nature of Odysseus' returns and resulting non-conclusiveness. The second circumstance is the 'great sign', mega sema (23,188), confirming the identity of the returning Odysseus - 'enrooting' this identity in the original construction of the home. The author demonstrates that this sign is connected directly with events transpiring in the cave of Polypheme, which becomes the reason why the centre of the home sphere and the very identity of Odysseus are branded with an inner 'lack' and receive the status of literary fiction.
5
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TOWARDS IDENTITY.JOURNEY OF POLISH ARMENIANS IN POSTMODERN TIMES

80%
Graczyk L.
Sprawy Narodowościowe
|
2005
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issue 27
185-193
EN
The article examines the contemporary phenomenon of the redefinition of an ethnic community. It describes one method for the ethnic identification of Polish Armenians, a community with a history going back several centuries. The analysis concerns deconstructed texts of the postmodern reality. The topics of identity and journey appear in every attempt to describe Armenian society, just as with every other group whose appearance in a given territory is a result of migration. Thus, the description of culture involves a journey to categories which are fundamental for each community.The reflections in the article are based on an advertisement - a symbolic indicator of the directions taken in Armenian journeys towards identity. The analysis of the cultural content of this text seeks to untangle a web of meanings, signs, and points along the Armenian ethnic map and, at the same time, identify the symbols crucial in the reconstruction of identity. The journey to identity also borrows diverse elements from the past: a faded photograph, a tattered century-old notebook, a ruined manor or chapel located in the remote eastern frontier (Kresy).
6
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DERRIDA AND THE POTENTIALITY OF LITERATURE: NOTES ON DERRIDA’ S “THE LAW OF GENRE”

80%
Tenev D.
World Literature Studies
|
2024
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vol. 16
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issue 1
54 – 70
EN
In this article I trace Derrida’s modus of reading literary works focusing on “The Law of Genre”. First, I offer a reconstruction of Derrida’s text and analyse the strategy of reading in which one uses elements of what one reads as tools of interpretation. I then argue that this strategy allows the text to indicate its singularity. However, the singularity of literary works is associated with their potentiality, or what Derrida calls in Glas “POTENCE du texte”. In the third and final part of the article, the singular potentiality of literature is outlined.
7
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DECOMPOSITION WITH NEW TECHNOLOGIES IN CONTEMPORARY SLOVAK THEATRE PRODUCTIONS

70%
Hrbek M.
Slovenské divadlo (Slovak Theatre)
|
2021
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vol. 69
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issue 3
277 – 289
EN
This case study focuses on one of the principles of theatre decomposition and illustrates it with the analysis of the staging of the contemporary opera Muž v skafandri [Man in a Spacesuit, 2020] of the composer and librettist Miroslav Tóth, directed by Jan Komárek. The aim of this study is to zoom in on contemporary cross-media and cross-genre trends in Slovak theatre productions that use new technologies, by which theatre makers intervene into the composition of the staging by deconstructing its means of expression. The scenes of the productions are fragmentized; the theatre makers break them down into their basic components to find new possibilities and meanings, while the recipients perceive these associatively.
8

IN SEARCH OF THE 'DISAPPEARING SELF'

70%
Pataki F.
Magyar Pszichologiai Szemle (Hungarian Psychological Review)
|
2008
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vol. 63
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issue 3
409-470
EN
The review paper surveys the struggles on psychology and social science at large around concepts touching upon the self. The survey claims that behind the conceptual chaos one could trace rivaling theories regarding how to reconstruct the authority of one of the most crucial anchoring points of psychology namely personal reference. A detailed analysis is given of the deconstructionist and different narrative approaches. The survey concludes by the claim that the respectful status of the disappearing self has to be reconstructed in order to account for the key role of autobiographic moments and individualized interpretations.
9

Czym może być dekonstrukcja?

70%
Kopka A.
Kwartalnik Filozoficzny
|
2013
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vol. 41
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issue 3
81-99
EN
In my article I consider deconstruction as a philosophical strategy. The problems which arise with the explication of what deconstruction might be result from the fact that deconstruction escapes full conceptualization and does not allow itself to be presented as a philosophical method. Such resistance does not mean that we cannot recognize manifestations of deconstruction in the body of a text whose structural incoherence will not allow us to recover one rightful meaning, since every text is constantly in deconstruction, opening itself to innumerable interpretations. Therefore, deconstruction is something that one cannot control, but at the same time it makes every textual operation possible.
10
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"Ženské psaní" jako inscenace limit textu

70%
Matonoha J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 2
201-228
EN
This article examines the nature of the relationship between the kind of textual politics, here referred to as ‘women’s writing’, and the dominant discursive practice of Czech culture, whose logic and functioning is best encapsulated in the Derridean term ‘phallogocentrism’. Women’s writing is defined here as the kind of writing which locates itself outside the domain and logic of a phallogocentric discourse, trying to challenge and undermine its hegemonic status. In this respect, women’s writing is not delimited by the sex of an author, but by his/her gendered subjectivity, his/her position within the discursive formation, and his/her attitude to hegemonic language practices. Women’s writing, as understood in this thesis, critically reflects upon the role of language as a decisive medium for our thinking, and questions the notion of subjectivity, which is usually equated with the Cartesian Ego and conceived as an autonomous entity. Through its textual strategies, women’s writing reflects upon the fact that we all are inevitably ‘inserted’ into language. Consequently, rather than striving to free itself of – inevitable – discursive formation and constraints, it highlights the formative role of language by means of an ironic, palimpsest-like re-writing of conventional literary narratives, as well as by means of textual politics defined by the continuous displacement of meaning. The criticism of the phallogocentric concept of subjectivity is on the one hand informed by the decentring of the identity of the narrating subject, and on the other by one’s awareness of one’s epistemic situatedness within a particular discursive space. The logic and economy of women’s writing is determined by the tension between its drive towards non-phallogocentric discourse, and its paradoxical, yet inevitable dependence on symbolic codes and hegemonic discursive practices. The subversive potential of women’s writing, as understood here, is thus not situated within a space seen as a radical ‘beyond’, but is directed inwards, into the fissures of the phallogocentric discourse itself. In order to exemplify the features of women’s writing, the article discusses a novel Slabikář otcovského jazyka (A Primer of the Father Tongue) by Sylvie Richterová (who is, apart from Součková, Linhartová, Hodrová, and Hrabal, one of the authors discussed in a monograph of which the present article is an excerpt). Richterová’s novel, which may be read as a radical reassessment of the genre of autobiography, is considered in the article a fragmented space of memory, which provides an ambiguous ground for an attempt to integrate a discontinuous identity, an integration that can never be fully accomplished. The paper then argues that one’s identity can never be grasped as a full and unmediated presence due to both the nature of language based on the mechanism of constant deferral (Derrida) and the nature of always already split subjectivity based on an essential and constitutive lack (Lacan).
11

DEKONSTRUKCE „NENÍ“ KRITIKA

70%
Fišerová M.
Filozofia (Philosophy)
|
2017
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vol. 72
|
issue 7
515 – 526
EN
The paper focuses on Derrida’s claim that “margins” of philosophy are made of aporias, which bring no solution to the problems that can be positively solved in the centre of Western metaphysics. According to the paper’s hypothesis, Derrida’s work is characterized by a circular movement of subversive translation of idioms into aporias, operating as a guest of resistance which immediately turns back to resignation. In fact, Derrida’s aporia is no logical antinomy, it’s rather an ethical experience of decision without end. This ethics of mistrust inspires Derrida, just like Kafka, to describe the pre-ontological aporias, the logically paralytic places, where it’s impossible to formulate a problem and to propose its solution, let alone to do its critique. For these reasons − and contrary to what is often declared − deconstruction is no critique.
12
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HIROSHIMA’S BAG LADY INCREASING THE PARAMETERS OF THE REAL

70%
Nunes Nacif L.
ESPES
|
2023
|
vol. 12
|
issue 2
117 – 123
EN
What is considered ugly, grotesque or unpleasant by the fashion world? The first collection presented by Rei Kawakubo in Paris was classified as offensive to Western aesthetic standards, for it questioned the French ideal of beauty and elegance. Through silhouettes covered in frayed, perforated and monochromatic fabrics, Kawakubo disrupted the established notion of the beautiful body, stripping it of the clichés of femininity, explicit sexuality and glamour. Under the lens of Vilém Flusser’s philosophy, the Japanese fashion designer created the new, the beautiful, that which is capable of expanding the parameters of the real.
13

Dekonstrukcyjność poezji Andrzeja Sosnowskiego

70%
Bujno D.
Białostockie Studia Literaturoznawcze
|
2012
|
vol. 3
325-337
EN
The article tackles the problem of the deconstructive character of Andrzej Sosnowski's poetry. In his analysis, the author employs a few poems to establish the links between Sosnowski's poetic project and the philosophical project of Jacques Derrida, showing how the Polish poet deconstructs the given literary language, encompassing the tradition that ranges from antiquity to modernity.
14

SPRAVEDLNOST, DEKONSTRUKCE A DIFFERÄNCE: O BESTIALITĚ A STÁTU

61%
Charvát M.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 7
527 – 536
EN
The main aim of the paper is to analyse the role of the concept of “beast” and its relationship to political philosophy as well as Derrida’s deconstructive reading of Western philosophical tradition. The problematic significance of the concept of “beast” enables Derrida to re-articulate the relationship between the state, law, and justice. Justice seems to be grasped in the deconstruction of binary opposition between the man and the animal/beast. This meets Derrida’s demand to establish an ethics of singularity, postulated in his late writings.
15

PÍSEMNÍ AKT. DERRIDA A SEARLE O PARAZITICKÉ PERFORMATIVITĚ

61%
Fišerová M.
Filozofia (Philosophy)
|
2018
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vol. 73
|
issue 1
63 – 74
EN
The article introduces handwritten signature as a sort of performative. Contrary to the theory of speech acts, the author proposes to grasp it not as a speech act, but as a writing act inspired by Derrida’s deconstructive conception of parasitical iterability of the writing. In this perspective, the writing act is habited by an aporetical double bind, where ontologically “similar” and logically “identical” are pervading. The unsatisfiable metaphysical obligation of the civil identification via signature can be understood only thanks to the aporia of deferred meaning, where the only original is actually the deferral. As the analysis of the well-known polemics between Derrida and Searle shows, the deconstructed writing produces writing acts as parasitical performatives, which are far from communicational, citation and identification claim of Searle’s conception of speech acts. Finally, the article proposes a new revision of the differences in performative conception of sign in Austin, Searle, Derrida and Ronell.
16

DRIFT DEKONŠTRUKCIE

61%
Fišerová M.
Filozofia (Philosophy)
|
2015
|
vol. 70
|
issue 3
215 – 228
EN
The paper focuses on the methodological problem of interpretation in Jacques Derridaʼs work. In order to build up a new philosophical strategy against the violence of western metaphysics and its indications of full presence or full absence of textʼs meaning, Derrida opens the text to semantic inconsistence. From the point of view of deconstruction, every text reaches other texts by means of its suplements: the text becomes workable, telescopic and spongy. All its meanings are contained in the context, which is unlimited; intertextual meanings are drifting in it. Nevertheless, if Derrida rejects metaphysical certitudes of the meaningʼs presence, why does he criticize certain interpretation of text as “wrong”? What exactly is Derrida doing when he reads a text “critically” and “precisely”? In order to answer these questions, the paper shows the differences between interpretation and dissemination from the point of view of their problematic relation to the text's meaning. By comparing Derrida’s and Eco’s pragmatically ways of reading, the paper focuses on their opposing stands questioning at the same time the conceptual limits of the specific drift of meaning in de-construction.
17

UT PICTURA AUTO-POESIS? II. (MARINO'S NARCISSUS POEMS IN THE MIRROR/GAME OF DECONSTRUCTION)

61%
Burkhart M. G.
Slovak Review. A Review of World Literature Research
|
2006
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vol. 15
|
issue 1
10-32
EN
The cause of concentration of the auto-referential model of literature can be theoretically proved on disappearing referentiality. It can be proved also by the means of the insight into the work of La Pittura that mannerism is far more (post) modern than it could have appeared prima facie. The theoretical and methodological data are to be verified on the particular interpretations so that they do not lose their legitimacy. This pays chiefly on 'newer theories', particularly on the system theory and deconstruction, which are only about to achieve their reputation in the interpretation practice and to prove their potential for working with literary texts. Irritation caused by both positions mentioned is obvious since they radically refuse the target principle of hermeneutics i. e. complete decipherment of the meaning of the text. Despite of this, both theories offer a notion inventory, which enables describing some phenomena of the literary texts not possible to seize by the means of the traditional hermeneutic instruments. A meaningful interconnection of these two theories can even multiply this potential. The problem of the paradoxical 'autopoesy' had been defined already in Goedel's proof of equivocation, which shows the impossibility of applying formalized systems on one's self. The ideas of auto-reflection and deconstruction of the onto-theological ideology of presence, however, are not new, as is proved also by our interpretation of Ovid and Marino. But, in the context of modernism and postmodernism they become more visible. Despite that, such tendencies can be observed also in the different periods in which these problems were discussed with the similar intensity, e. g. the silver period of the Roman literature or baroque. It is therefore needed and purposeful to modify the existing post-structuralist data so that they enable adequate seizing of the 'pre-modern' auto-reflective literary models.
18

REMARKS ON 'TARCZA ARYSTOTELESA' BY MIROSLAW ZAROWSKI (Notatki do lektury ksiazki Miroslawa Zarowskiego 'Tarcza Arystotelesa')

61%
Zoltanski K.
Przegląd Filozoficzno-Literacki
|
2010
|
vol. 9
|
issue 2(27)
327-350
EN
'Tarcza Arystotelesa' by Miroslaw Zarowski is a book of great value, nonetheless bringing about serious difficulties for the reader. The article aims at delivering a philosophical justification for some of those difficulties, and tries to point out relations which connect the book with contemporary problems and notions, such as metaphysics, model of theoretical knowledge, postmodernism, deconstruction, rhetoric, and hermeneutics. The book does not refer explicitly to those notions, or does so in the specific manner, by employing some codes. The article refers broadly to the earlier book of this author, 'Tozsamotnosc. Skazenie natury ludzkiej w filozofii Kartezjusza'.
19

DECONSTRUCTING THE FRAME : THE USES OF PHOTOGRAPHY

61%
Lubiak J.
Rocznik Historii Sztuki
|
2006
|
vol. 31
67-76
EN
The concept of iconoclash proposed by Bruno Latour aims at critical recognition of reciprocal interconnection between iconolatry and iconoclasm as a basic factor in the image wars. This recognition allows him to formulate a project of transcending beyond the permanent iconoclash that has determined the run of history. Transgression is possible, according to Latour, only through radical redefinition of the image, through absolute prohibition of freeze-framing the image. Thanks to that an icon, idol or fetish - crucial factors in any iconoclash - are replaced by unlimited flow of images. It raises the question of photography that, as Christian Metz shows, shares many features with fetish and fetishism. It seems, however, that amnesia of unlimited flows is not a correct reply to melancholic or nostalgic cathexis of photography as fetish. Referring to Jacques Derrida's notion of parergon, logic of supplement, concept of spectrality one may say that deconstruction of the frame (that is deconstruction of the opposition between the fetish and unlimited flow) is what may turn fetishism of photography into affirmative anamnesis, creative 'work of memory'.
20
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POHYB POZA HRANICE: INTERMEDIÁLNE A TRANSMEDIÁLNE VZŤAHY

61%
Tomašovičová J.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
29 – 39
EN
Various questions concerning relations between the old and the new media, as well as relations between different sign systems, resound in current discussions about remediation. The proposition of J. D. Bolter and R. Grusin who claim that media always comment on each other and reproduce and substitute one another gives rise to the relevant methodological question: what possible forms and qualities of mutual relationships and links between various types of media can be identified? Or, in other words, how do we specify phenomena such as intermediality and transmediality, which include the whole complex of bonds and links but at the same time, regarding their terminology, display a certain level of ambiguity? The author compares several interpretative approaches to the abovementioned phenomena that stem from German ideological concepts and aims at pointing out their possible concurrence as well as their current terminological differences. She confronts W. Wolf ’s and I. Rajewsky’s concepts of intermediality and transmediality with the more recent attempts at terminological clarification of both phenomena: by U. Wirth and R. Simanowski. At the same time, the author does not ignore the fact that the latest methodological tendencies are not isolated in their theoretical reflections but follow several relevant premises. These premises include fundamental ideological struggles that have taken place in modern art, semiotics and philosophy, viz. the crisis of representation, and poststructuralist attempts at loosening or even over-stepping the text’s limits. Both tendencies can be seen as turning points; they have modified stabilized forms and deep-rooted interpretative formulae by which they laid the foundation for the subsequent new approach to media studies that interconnects art, literary studies, philosophy and digital technology.
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