This book review symposium aims to open a space for discussions and questions responded to the book Education between Speech and Writing: Crossing the Boundaries of Dao and Deconstruction, which is...

This book offers a vigorous and constructive challenge to relativism by examining a wide range of anti-realist theories, and in response offering a variety of arguments amounting to a strong defence of critical realism in the natural and social sciences.

This new edition of Drucilla Cornell's highly acclaimed book includes a substantial new introduction by the author, which situates the book within current feminist debates. In Beyond Accommodation, Drucilla Cornell offers a highly original vision of what feminist theory can give contemporary women. She challenges essentialist and naturalist accounts of feminine sexuality, arguing that any attempt to affirm woman's value and difference by either emphasizing her maternal role or repudiating the feminine only entraps women, once again, in a container that (...) curtails feminine sexual difference, legitimates the masculine fantasy of woman, and reinstates, rather than dismantles, the gender hierarchy. (shrink)

Written in the aftermath of the deaths of the French philosophers Jacques Derrida (19302004) and Paul Ricoeur (19132005), this book is an important and ...

The article focuses mainly on linguistic aspects, paying special attention to meanings of the word ZHEN 貞. The research is based on the text version and commentary by Wang Bi 王弼 from Wei Dynasty, classical Ten Wings commentaries from the 1st mil. BC, works by scholars from Han, Tang, Song and Qing Dynasties, as well as translations by Western sinologists. In the first part of the article, the semantic approach is applied, in order to trace origins and existing definitions of (...) the term ZHEN. In the second part, a creative deconstruction approach will be used to analyze the entire text, revealing atypical meanings within various schemes: 1) in the layer of hexagram succession chain and judgments, 2) in relationships of lines, 3) in problematic and inauspicious situations where the word is mentioned. (shrink)

Upshot: I describe my perception of deconstruction, including the controversial point of view that deconstruction is actually construction. I also provide more details about the some of the design decisions in the software, and how these affected the students’ experience.

The dissertation seeks to locate a post-Hegelian response to the question of orientation. Such a response would neither return to the "totalizing drive" of dialectic nor yield to the "nihilistic gestures" of deconstruction but would traverse and transfigure both modes of thought. Part 1 isolates non-dialectical tropes which implicitly orient crucial transitions in Hegel's Logic, Phenomenology, and Aesthetics. Textual analyses of these tropes suggest that dialectical movement depends paradoxically upon the systematic undoing of the Hegelian demand for total knowledge. (...) Part 2 finds that the same orienting tropes reappear in texts of Derrida's where they now work against the paralyzing effects of deconstruction. These tropic movements prefigure a deconstructive notion of orientation which would exceed the inversions of undecidability. (shrink)

Jacques Derrida est l’un des philosophes qui a continué à remettre en cause sérieusement les rapports théoriques et pratiques entre la philosophie et l’éducation, tout en restant hors des institutions universitaires traditionnelles en France. Dans les années 1970, il organise le GREPH (Groupe de recherches surl’enseignement philosophique) avec des enseignants et des étudiants contre la réduction de l’enseignment philosophique au lycée par le gouvernement français, et pour faire les recherches théoriques sur le lien essentiel de la philosophie à l’enseignement en (...) général. Puis, en 1983, Derrida a déployé tous ses efforts pour créer le Collège internatinal de Philosophie, institution tendant à ouvrir la nouvelle possibilité de la philosophie. Enfin, dans ses dernières années, ilintérroge l’avenir de l’université ou des Humanités à cette époque de mondialisation dans les textes comme L’Université sans condition, etc. Pour Derrida qui n’a cessé de donner ses séminaires depuis 1964, la question de l’éducation est important pour l’élaboration de sa propre philosophie. Selon lui, « je n’imagine pas de philosophie ni de recherche dissociée de son enseignement. J’ai essayé d’introduire dans cet enseignemtn de nouvelles pédagogie, de nouvelles mises en scènes, de changer la politique de l’enseignement et son rapport à la société » (Sur parole : instantanés philosophiques, Aube, 1999, p. 36). L’enseignement n’est pas un thème secondaire, mais plutôt un des questions centrales pour ses recherches philosophiques. Dans cette communication, nous allons mettre en lumière la théorie et la pratique de Derrida sur la philosphie et l’éducation, comme l’exemple le plus effectif et concret de sa conception de déconstruction. (shrink)

Thomas McCarthy has provided a trenchant critique of the deconstructionist turn in recent philosophy and has outlined a program of reconstruction in its aftermath. He develops his version of reconstructionist philosophy against the backdrop of Kant's doctrine of critical reason and the critical theory of Jürgen Habermas. However, McCarthy's reconstructionist design is not simply an appropriation and defense of Habermas. He provides a critical reformulation of the Habermasian position, deftly using Habermas against himself. The author is in accord both with (...) McCarthy's disposition to problematize the premises of deconstruction and his call for philosophical reconstruction. In continuing the conversation, however, he distances himself farther than does McCarthy from the criteriological concept of rationality that was proposed by Kant and which continues to inform Habermas's requirement for the grounding of validity claims. In the process the author proposes a new approach to the resources of reason along the lines of what he has come to call the dynamics of transversal rationality. (shrink)

An exploration of the occurrence of the words “safe” and “intact” in the writings of Derrida and Nancy, the author likes to suggest, allows us to catch a glimpse of some of the fundamental differences between the late works of these two thinkers as well as to distinguish the most salient features of their divergent interpretations of deconstruction. This chapter concentrates on the intersection of the later writings of Derrida and Nancy concerning the general topic of “religion”. What is (...) of particular interest is the significant role that the interpretation of the term salut ‐ which in French has two meanings “greeting, salutation” as well as “salvation” ‐ plays in this interaction. In broad outlines, for Derrida, the goal of “religion”, if it can be said to have one, is to keep the living – the adherents of “religion” ‐ safe, unscathed, and intact. (shrink)

The book revives literary theory, which was popular at the end of the 20th century, with the purpose of showing how useful it is in the current century in opening the minds of students to the dangers of claiming to have a fixed identity. It shows that in Western cultures identity is a construct that always sees individuals as lacking something (being fallen) that can be retrieved or gained at the expense of an Other, an adversary seen as standing in (...) the way of identity fulfillment. The history of "fallenness" is expressed through an analysis of Melville's Billy Budd, Faulkner's Absalom, Absalom!, Pynchon's The Crying of Lot 49. The book also shows ways to heal identity through an analysis of Toni Morrison's Beloved and Rudolfo Anaya's Tortuga. (shrink)

Examines the relationship of Derrida’s writings on architecture to his methodology of deconstruction and to deconstrutivism in architecture. Between 1984 and 1994 Jacques Derrida wrote and spoke a great deal about architecture both in his academic work and in connection with a number of particular building projects around the world. He engaged significantly with the work of architects such as Bernard Tschumi, Peter Eisenman, and Daniel Libeskind. Derrida conceived of architecture as an example of the kind of multidimensional writing (...) that he had theorized in Of Grammatology, identifying a rich common ground between architecture and philosophy in relation to ideas about political community and the concept of dwelling. In this book, Francesco Vitale analyzes Derrida’s writings and demonstrates how Derrida’s work on this topic provides a richer understanding of his approach to deconstruction, highlighting the connections and differences between philosophical deconstruction and architectural deconstrutivism. “Although there has been some discussion of the intersection of deconstruction and architecture in the past, mostly among architects and architectural critics, Vitale’s work is distinguished by the fact that it is written by a true philosopher who has a much more acute sense than has usually been the case of the philosophical underpinnings of Derrida’s exchanges with Tschumi, Eisenman, and others. Vitale is throughout concise, precise, insightful, and often brilliant.” — Geoffrey Bennington, author of Interrupting Derrida. (shrink)

This work is an exceptionally rich account both of the connections and divergences between Levinas and Derrida as ethical thinkers. Against the backdrop of nineteenth and twentieth century philosophy and phenomenology, Srajek draws on Hermann Cohen's ethics of correlation so as to demonstrate how far it is possible to read Levinas and Derrida as constructing similar approaches to ethics.

This paper aims to unravel a tension between the act of naming and ‘differential relationality’. Derrida has taught us that ‘naming’ is an essentialising, and thus metaphysical gesture that works to define and circumscribe a field of work (for instance, ‘Eco-Deconstruction’), the human, and ecology. ‘Naming’ entails the beginning of the institutionalisation and sedimentation of a field, despite a ‘field’s’ claim to the opposite. The danger of such sedimentation is that it perpetuates what Derrida calls ipseity that in the (...) history of western philosophy and metaphysics has worked in contradistinction to the nonhuman (animals, environment, ecology). (shrink)

The "ruin" of the transcendental tradition -- Freud and the transcendental relation -- Derrida: Differance and the "plural logic of the aporia" -- The im-possibility of the psyche -- The death drive and the im-possibility of psychoanalysis -- Institutional psychoanalysis and the paradoxes of archivization -- The Lacanian real -- Sexual difference -- Feminine sexuality -- The transcendental relation in Lancanian psychoanalysis -- The death drive and ethical action -- The "talking cure": language and psychoanalysis.

This tribute to Jacques Derrida takes in the sweep of his orchestration of literature with philosophy, as two “counterposed moments” of his interrogation of the working of language and thought. Focusing especially on his reading of Mallarmé, which distills the philosophical resonance of discourse that identifies itself as literary, and on Specters of Marx, which displays the political resonance of deconstruction, Sussman also turns to Derrida's reading of Blanchot as a figure who resumes the tension between the literary and (...) the philosophical but who “inscribes life, in all its impossible conditions.”. (shrink)

Redrawing the Lines,the first book to focus on that interaction, brings together ten essays by key figures who have worked to connect literary theory and philosophy and to reassess the relationship between analytic and Continental ...

Purpose. Objectives of the study are as follows: to remove the reduction of women to a metaphysical subject, to the "castrated Other" through the correlation of postmodern strategies and gender medicine; to institutionalize gender medicine as knowledge and practical activities that improve the quality and span of life of women based on the methodological application of deconstruction, complementarity, differance, "double writing", X-subject treatment and biomedical innovations; the perspective of gender medicine development is the implementation of the concept of "sovereign (...) writing" of postmodern in individual treatment of a person. Theoretical basis. Shock value of the title means farewell to metaphysics in the complex of its derived concepts. The author criticizes the abstract, reduced, marginalized, deviant subject of classical metaphysics and its continuation in psychoanalysis, explores the correlation of postmodern philosophy strategies and biomedical innovations. The allusion to the masterpiece of world cinematography Pasolini’s "Ciao maschio" corresponds to the rhizomatic stylistics of the postmodern. Originality. After feminist transgressions, gender constructivism postmodern philosophy demonstrates a new subject and a new methodology, which formed gender medicine. Differance, distinction, complementarity, X-subject of treatment, chiasmatic movement, "double writing", "sovereign writing" organically turned over and reconstructed modern medicine in gender, biochemical, and hormonal innovative variations. Conclusions. 1. Based on the philosophy and biomedical innovations, a new direction has grown – gender medicine, which has removed the reduction of women to a metaphysical subject, "castrated Other", which has improved the quality of women’s health and span of life. 2. Gender medicine in organic combination with the strategies of deconstruction, complementarity, differance, distinction as hormonal distinction, "double writing" as a "dual protocol" of treatment for the same diseases of men and women, the treatment of X-subject turned out to be "new wisdom", which improves the quality of health and span of life in everyday practice. 3. The prospect of the gender medicine’s development is in the implementation of the "sovereign writing" as an individual treatment of a specific person. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Invitation to Play:A Response to Patrick Schmidt's "What We Hear is Meaning Too:Deconstruction, Dialogue, and Music"Patrice Madura Ward-SteinmanThe aims of dialogue-as-deconstruction, as described by Patrick Schmidt, are concepts I have pondered as a result of a five-week sabbatical visit to Melbourne, Australia. My research focus there was improvisation, and early in my visit I attended two concerts at the premier jazz club, Bennett's Lane. There I (...) heard twelve improvisers in a variety of ensembles, all in celebration of the seventieth birthday of their mentor, Tony Gould, who also performed. Gould is cited by John Whiteoak and Aline Scott-Maxwell as an "outstanding player who has never ceased to develop as an improviser" and who "as a pianist, records prolifically across a wide musical spectrum."1While the music was jazz, it was freer and fresher than usual. There was striking interaction among the musicians, including facial expressions that reflected genuine ecstasy, and body movement that was naturally "in sync" with the music. I began to ask many questions, including: Is Australia's jazz different from that [End Page 82] in the U.S.? Is Tony Gould's influence as a teacher the reason for the difference? What accounts for the sensation of "freshness" in this music? And why is this musical experience so gripping, both aurally and visually? Serendipitously, I discovered answers through the opportunity to respond to Schmidt's aims of dialogue-of-deconstruction. I shall illustrate how those aims, namely decentralized power and conflict, multiplicity and meaning, and mis-listening may be met in the improvising music ensemble.Decentralized Power and ConflictThe lifeblood of "free jazz" and "free improvisation" ensembles is de-centralized musical interaction, which may be considered a metaphor for dialogue-as-deconstruction. Case in point: the Tony Gould Quartet was an improvising unit with each musician contributing to the musical whole. The air was electric with each musician poised in both the anticipation of what the other might play and in the moment of creation.A recent trend in studies of organizational behavior is on "self-directed" or "self-managed" groups, as identified by Keith R. Sawyer.2 David Borgo3 explains that the characteristics of these "self-organizing systems" or "SOSs" are threefold: they operate without centralized control, they "exhibit both complex and adaptive dynamics," and they are comprised of autonomous individuals who demonstrate a high degree of connectivity. Both authors assert that an ideal SOS is the free improvising ensemble, where musical ideas are allowed to emerge and adapt, and even musical "mistakes" may be manipulated into the context, thus creating new directions in dialogue.However, SOSs have some inherent problems. For example, they are "slow to emerge.... The more complex they are, the longer it may take them to warm up: hierarchical layers have to settle down... and individual(s) have to acquaint themselves with one another."4 Borgo explained that even advanced improvisers often need to pursue a musical idea for a long while for it to achieve coherence. Philip Alperson adds: "As the number of designing intelligences increases, the greater is the difficulty in coordinating all the parts; the twin dangers of cacophony and opacity lurk around the corner."5It seems that "interactional synchrony"6 can develop among musicians who have "good chemistry" after a warm-up period, but those with conflicting personalities, aesthetic dispositions, or musical styles may have a more difficult time of it. When members of the Tony Gould Quartet were asked how they are able to achieve musical unity, they explained that they have played together for many years, they "hang out and drink together" when not on the bandstand, and they trust each other. Even when one of the members feels "out of sorts," their improvisations are respected as authentic expressions. Others' differences are honored, [End Page 83] rather than felt in opposition to one's self.7 Ingrid Monson8 quotes several musicians who use the metaphor of marriage to describe the musical relationship during a peak performance; on the other hand, jealousy, competition, and even hostility on the bandstand are not uncommon and can destroy an ensemble. So, it appears... (shrink)

In Biodeconstruction (2018) I argued that Derrida, in the Life Death seminar (1975–76), would have anticipated the most recent developments in epigenetics, a field in which the dogma of genetic determinism is radically challenged by noting the influence of the environment in the production of mutations in the genetic program, particularly when a genetic population is faced with a radical change in its environmental conditions, which I propose to call an ‘ecological event’. I explore a comparison between the Derridean (...) class='Hi'>deconstruction of genetic determinism and the theoretical elaborations of epigenesis, referring to the work of Eva Jablonka and Marion J. Lamb, Evolution in Four Dimensions (2005). Jablonka and Lamb propose a theory of genetic variation in which mutations would be the result of the interpretation of unpredictable environmental events by the individual whose survival would be in danger. Through this comparison, I show that the study of ‘interpretive Mutations’ as reactions to unpredictable environmental events can be helpful in understanding the Derridean theme of the ‘event’, rearticulating it in relation to the radical environmental changes that humanity will sooner or later face. (shrink)

In this compelling and timely treatise, cultural theorist and educator Peter Trifonas puts forth the first book-length study of Jacques Derrida's 'educational texts:' that is, those writings most explicitly concerned with the ethics and politics of the historico-philosophical structures constituting the scene of teaching. The text examines how deconstruction allows us to re-think the socio-historical and ethico-philosophical aspects of pedagogical practices and policies, including pedagogical theories that have had direct bearing on the ethical and cultural ideals forming the reason (...) of Western educational systems and the exclusion of its 'Others.'. (shrink)

Paul de Man - literary critic, literary philosopher, "American deconstructionist" - changed the landscape of criticism through his rigorous theories and writings. Upon its original publication in 1988, Christopher Norris' book was the first full-length introduction to de Man, a reading that offers a much-needed corrective to the pattern of extreme antithetical response which marked the initial reception to de Man's writings. Norris addresses de Man's relationship to philosophical thinking in the post-Kantian tradition, his concern with "aesthetic ideology" as a (...) potent force of mystification within and beyond that tradition, and the vexed issue of de Man's politics. Norris brings out the marked shift of allegiance in de Man's thinking, from the thinly veiled conservative implications of the early essays to the engagement with Marx and Foucault on matters of language and politics in the late, posthumous writing. At each stage, Norris raises these questions through a detailed close reading of individual texts which will be welcomed by those who lack any specialised knowledge of de Man's work. (shrink)

The environmental crisis, one of the great challenges of our time, tends to disenfranchise those who come after us. Arguing that as temporary inhabitants of the earth, we cannot be indifferent to future generations, this book draws on the resources of phenomenology and poststructuralism to help us conceive of moral relations in connection with human temporality. Demonstrating that moral and political normativity emerge with generational time, the time of birth and death, this book proposes two related models of intergenerational and (...) environmental justice. The first entails a form of indirect reciprocity, in which we owe future people both because of their needs and interests and because we ourselves have been the beneficiaries of peoples past; the second posits a generational taking of turns that Matthias Fritsch applies to both our institutions and our natural environment, in other words, to the earth as a whole. Offering new readings of key philosophers, and emphasizing the work of Emmanuel Levinas and Jacques Derrida in particular, Taking Turns with the Earth disrupts human-centered notions of terrestrial appropriation and sharing to give us a new continental philosophical account of future-oriented justice. (shrink)

“One of the most dangerous of ideas for a philosopher is, oddly enough, that we think with our heads, or in our heads.” Wittgenstein… aber wir sprechen das Allgemeine aus;” Hegel“Hegel is the last philosopher of the book and the first thinker of writing.” Derrida“Linguistic turn”, “pragmatic paradigm”, “Destruktion”, “deconstruction”, “condition postmoderne”, “pensiero debole” are not only philosophical labels. They are not only indices of intellectual positions which have inscribed themselves, as consequences as well as preconditions, in the end (...) of traditional metaphysics. “Nothing is true, everything is permitted”, Nietzsche'sGenealogy of Moralsannounces, describing the empty space which the metaphysical concepts have left; and in doing so opening up a seemingly boundless dimension for new developments of thoughts. The dilemma of these developments of modernity is that the vacuum they left, caused by their ruthless critique, cannot be refilled. So the outlook of modernity remains necessarily heterogeneous and unstable, meandering towards the colourful and fashionable-macabre extremes of postmodemity which gain from the tragic certainty of rien ne va plus the happy imperative of anything goes. But these are also ciphers of a particular philosophical-historical constellation, a work situation, in which the potencies of reason, being verhimmelt for a long time, now are going to be situated into their real contexts. Only, as Habermas puts it, “under the premises of an unexcited postmetaphysical thinking”, the once heroic concept of theory, which was meant to explain the world of human beings and their history as well as Nature out of onto-theleological principles of rationality, falls to pieces. (shrink)

Résumé Cet article porte sur trois textes de Jacques Derrida – Circonfession (1991), Passions (1993) et Force de loi (1994) – qui ont marqué le tournant politique et autobiographique de sa pensée. Il se penche sur la « grammaire imaginative » de la déconstruction et son objectif est de voir quel type de disparition est présupposé par cette grammaire, vue comme un dialogue entre l’appel à ce qui est condamné à ne pas se dire et la réponse de ce qui (...) émerge en cédant sa place à un nouveau non-dit. En passant par les notions de la justice, du secret et de l’idiome, l’article essaie de mettre en place une poétique déconstructive de la disparition. (shrink)

This theoretical psychological study comprises an illustration and analysis of the experience of "unknowing" described in contemplative and mystical literature. Materials examined were drawn from exponents of the West's "via negativa" and from the Japanese Zen master, Eihei Dosen. Although ultimately a non-discursive and ineffable mode of experience, the accounts of contemplative unknowing are shown in this study to bear a number of discernible common features. Psycho-spiritual techniques enjoined to inculcate the experience of unknowing are also examined. This study proposes (...) that the latter can be productively understood as forms of deconstruction, finding that "contemplative deconstruction" is effectively the deconstruction of the self, arrived at in an experienced shift in one's relationship to one's own experiencing . As an elucidating contrast and comparison, an extended discussion is provided of the postmodern deconstructionism of Jacques Derrida. Discussion is also included of currents within contemporary Western psychological discourse which show some promise for further aiding our understanding of contemplative experiences, namely, social constructivist psychology's investigations of the self and transpersonal psychology's valorization of East/West mysticism. It is suggested that, despite the extreme worth and impress on the lives of those who have such experiences , the discourse of contemporary mainstream psychology has yet to give adequate space in its investigations to the phenomena of contemplative praxis. (shrink)

In this article, the aim is to address different forms of relationship between deconstruction, as coined by Jacques Derrida, and research perspectives on music education. Deconstruction represents a radical departure from Western ontology from Plato onward and its essentialistic notions of the metaphysics of presence. Instead, Derrida claims that signs, as well as texts, are decentered, that is, they are continually altering meaning in relation to other signs or texts, being in constant motion. Simultaneously, signs and texts, as (...) well as existence and experience, constitute themselves by binary oppositions, like nature/culture, content/form, original/copy, internal/external, empirical/ theoretical, and so on. Derrida argues that such differences are not inherent, but are instead socially produced and hierarchical mechanisms for providing systematic priority to one aspect of the dualism to the neglect of the other. Consequently, the ethical interest of music education research, from a deconstructive perspective, would be to expose what is marginalized in musical schooling, upbringing, and socialization. In that case, deconstruction might also be able to rectify some of its destructive reputation. (shrink)

Explores the ethical and political possibilities of philosophy after deconstruction.

In “Against Theory” we argued that a text means what its author intends it to mean. We argued further that all attempts to found a method of interpretation on a general account of language involve imagining that a text can mean something other than what its author intends. Therefore, we concluded, all such attempts are bound to fail; there can be no method of interpretation. But the attempt to imagine that a text can mean something other than what its author (...) intends is not restricted to writers interested in interpretive method. In fact, the denial that meaning is determined by intention is central to projects as indifferent to method as hermeneutics and deconstruction. For hermeneutics, a text means that its author intends but also necessarily means more, acquiring new meanings as readers apply it to new situations. For deconstruction, an author can never succeed in determining the meaning of a text; every text participates in a code that necessarily eludes authorial control. Since both these projects are committed to the view that a text from mean something other than what its author intends, they are also committed to the view that a text derives its identity from something other than authorial intention. The text is what it is, no matter what meaning is assigned to it by its author and no matter how that meaning is revised by its readers.What gives a text its autonomous identity? On most accounts, the answer is linguistic conventions—the semantic and syntactic rules of the language in which the text is written. One of our aims in the present essay is to criticize the particular notions of textual identity advanced by hermeneutics and deconstruction, but our more general target is the notion that there can be any plausible criteria of textual identity that can function independent of authorial intention. Because there can be no such criteria, nonmethodological versions of interpretive theory are as incoherent as methodological ones and, like the methodological ones, should be abandoned. Steven Knapp is associate professor of English at the University of California, Berkeley, and is the author of Personification and the Sublime: Milton to Coleridge. Walter Benn Michaels, professor of English at the University of California, Berkeley, is the author of The Gold Standard and the Logic of Naturalism. (shrink)

The author argues that Günter Figal sheds novel light on language in his recent Objectivity: The Hermeneutical and Philosophy through a debate he appears to stage with the position Jacques Derrida develops in some of his early essays on deconstruction. Figal describes language as a form of showing and emphasizes the openness and flexibility of expression involved in determining significance. Yet, he rejects the idea he finds in Derrida that such flexibility should lead us to wholesale suspicion of the (...) capacity of language to fix significance. Whereas Derrida concludes that all attempts to fix significance through supplementation of our expressions can only end in the need for further supplementation, Figal stresses the dialectical mien of language that allows supplementation to yield genuinely determinate significances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:For the Love of Nothing:Auden, Keats, and DeconstructionJo-Anne Cappeluti"Authors can be stupid enough, God knows, but they are not quite so stupid as a certain kind of critic seems to think. The kind of critic, I mean, to whom, when he condemns a work or a passage, the possibility never occurs that its author may have foreseen exactly what he is going to say"—W. H. AudenIDeconstruction by definition is (...) an exercise of the intellect's predilection to disprove and deny aesthetic experience. Deconstruction is in love with denying this "nothing," but is seemingly unaware of how attempting demystification entangles the intellect all the more with the imagination. And it is the imagination that creates aesthetic experience, the very entity critics deny even exists. This dynamic is especially true of deconstruction looking at the Romantic mode of poetry: the poetry of poets who serve as their own subject. Analyzing the internalized quests of these poets, deconstruction offers a drama of itself too much in love with demystifying aesthetic experience, attempting and always failing, intellectually, to reduce it to nothing.Poets who write in the Romantic mode of poetry are in love with this "nothing"; they present internalized quests filled with their acute awareness of the aesthetic—and highly indeterminate—nature of being human. At the core of this indeterminacy is the ongoing debate between imagination and intellect, the first interested in exploring what is there, in human consciousness, the second prone to demystifying it. Poets who write in this mode learn that such improvable yet actual aesthetic experience or "nothing" is germane to being human. Any attempt [End Page 345] to escape it intellectually will only lead back to the imagination that presents it.Poets who write in the Romantic mode of poetry are so familiar with the way in which this aesthetic nature of human existence involves the unresolved conflict between imagination and intellect that these poets present in their poetry a response to the criticism that denies it. John Keats and W. H. Auden are two poets who show this dynamic and who, not by coincidence, have a lot in common. Deconstruction, however, sees Auden and Keats—however separately—as poets who wake up at mid-career to the fallaciousness of the imagination and subsequently turn their talent to making nothing happen in their poetry: undermining its aesthetic nature. Keats's Endymion and Auden's "Caliban to the Audience" are frequently cited as prime examples of this demystification process. As I will argue, however, both of these poems deliberately dramatize the self-thwarting attempts of the intellect to dissect and dismiss what it claims is nothing.1Keats dramatizes this dynamic in Endymion, drawing attention to the way in which this "Brain-sick shepherd prince" claims—actually over-protests—to have loved "nothing" after his miraculous experience beneath the ocean with the strangely indeterminate creature, Glaucus (pp. 134, 206).2 Auden offers as well a detailed description of this dynamic in "Caliban to the Audience," the last section of The Sea and The Mirror, A Commentary on Shakespeare's The Tempest. In this poem, the strangely indeterminate, begged question of existence, Caliban, reveals in great detail his audience's futile attempt to demystify what upsets them.My argument concludes with a discussion of the way in which these poems dramatize deconstruction's unintentional witness to the "real Word" of the imagination (CP, p. 444).3As poets who write in the Romantic mode, exploring what is there in their consciousness, Keats and Auden find a great indeterminacy inherent in their human nature: an unresolved problem that they explore—rather than try to solve. Auden, in fact, links himself to Keats, finding in Keats's idea of the chameleon poet his (Auden's) central idea of the poet as actor for the imagination. Like Keats, Auden takes the imagination quite seriously and fuses Keats's sense of the imagination with Coleridge's: observing that poetry records the poet's experiences in which the (Primary) imagination is drawn to certain "sacred" beings and events. In "Making, Knowing and Judging," Auden declares that the "impression made upon the imagination by any sacred being is of... (shrink)

Based on key texts of Derrida as well as his interviews and recently published seminars the article presents a “micrological” analysis of deconstructivist thought in the context of its appeal to phenomenology of Husserl and fundamental ontology of Heidegger. Derrida begins his intellectual path with a reflection on the most important topics of Husserlian phenomenology and discovers in the descriptions of temporalization a paradoxical movement of the immanent self-deconstruction of phenomenology. It from within undermines its own basic principle of (...) the primordial givenness of the living present to itself in its whole presence. From the point of view of Derrida’s deconstruction, the living present of self-presence of the transcendental ego, like itself, is no longer the original source of sense, meaning, knowledge and experience but rather the effect of difference. Derrida discovers the radical constitutive dependence of the present on the trace of the inevitably lost past, thus, his thought resolutely destroys the primordial nature of the present and roots it in the true “origin” as a game of delays and differences. Similarly, Derrida criticizes the project of fundamental ontology. While Heidegger conceives of the ontological difference between being and Being as the last hidden basis of any question in the discourse of metaphysics, Derrida insists that this differentiation is derived from différance as an even more primordial movement of difference. And although Derrida claims to have a more essential comprehension of the core of metaphysics compared to Husserl and Heidegger and even confidently classifies their philosophical work ones to the field of metaphysics, he continues to use the resources of phenomenological and transcendental discourse again and again, leaving them without any criticism. The most telling example here is the use of the phrase “always already” (toujours déjà, immer schon), incredibly common in the works of Heidegger and Husserl (as well as most other most famous modern phenomenologists) and accompanying most of Derrida’s texts. In this article we seek to draw attention to the mystery power of this phrase, which hides the secret of the origins of phenomenological, fundamental-ontological, transcendental, and deconstructivist discourses as such, and also to demonstrate the possibilities of self-deconstruction of deconstruction, which with new urgency returns us to the problem of defining the limits of metaphysics and the “margins of philosophy”. (shrink)