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When Jon Mote is hired to investigate the murder of his erstwhile mentor, literary star Richard Pratt, the grad school dropout feels woefully unequal to the task. Skittering on the edge of madness, his only source of hope is the dogged love of his developmentally disabled sister, Judy, who serves as cheerleader, critic and moral compass. Soon the siblings find themselves haunting the neighbourhoods of Minneapolis and St Paul, Minnesota – from crime scenes to the halls of academe – exposing a series of suspects along the way. When he stumbles upon Pratt’s terrible secret, Mote is prompted to discover an equally dreadful mystery in his own past – a revelation that accelerates his descent into darkness and puts both himself and Judy at grave risk. ‘Daniel Taylor’s oddly reluctant Sherlock Holmes is accompanied by the most unusual and heartwarming Watson in my reading experience.’ Paul J. Willis, author of The Alpine Tales
In The Gift of Death, Jacques Derrida's most sustained consideration of religion to date, he continues to explore questions introduced in Given Time about the limits of the rational and responsible that one reaches in granting or accepting death, whether by sacrifice, murder, execution, or suicide. Derrida analyzes Patocka's Heretical Essays on the History of Philosophy and develops and compares his ideas to the works of Heidegger, Levinas, and Kierkegaard. A major work, The Gift of Death resonates with much of Derrida's earlier writing and will be of interest to scholars in anthropology, philosophy, and literary criticism, along with scholars of ethics and religion. "The Gift of Death is Derrida's long-awaited deconstruction of the foundations of the project of a philosophical ethics, and it will long be regarded as one of the most significant of his many writings."—Choice "An important contribution to the critical study of ethics that commends itself to philosophers, social scientists, scholars of relgion . . . [and those] made curious by the controversy that so often attends Derrida."—Booklist "Derrida stares death in the face in this dense but rewarding inquiry. . . . Provocative."—Publishers Weekly
""Another Christian renounces the church and Christ." "Former Christian music star turns her back on faith." "I kissed Christianity goodbye." Headlines like these are becoming common. It seems like the most popular trend in faith circles lately is to deconstruct, then deconvert. Joshua Porter knows that story from the inside out. He was raised in the tangles of American evangelical Christianity, and the church he knew was conservative, fundamentalist, and politicized. It feared culture, music, art, Dungeons & Dragons, Harry Potter, and anything else that was slightly suspect. This foundation of dread and fear was full of holes he nearly fell through . . . and out of faith altogether. His story put him on the road to deconversion--but that isn't where he ended up. Despite his years of being surrounded by disaffected former Christians and living large in the punk rock lifestyle, Porter now finds his faith closer to the historic Christian tradition than ever. This book is more than Porter's own story. It also invites those who may be in the deconstruction process themselves to consider the perspective of someone who was tempted to leave his faith--yet stayed. And it provides theological insight and pastoral support to those who worry that everyone is bailing out on the church"--
David Rivers, a cynical and apathetic substitute teacher in southeast Georgia has a problem. His idea of reality seems slightly different than those around him; he also suspects that he may be the only one being victimized by visits from a very unwelcome creature. As his idea of the world around him comes more into focus, so does the darkness that shrouds his life. The epiphany that he hopes will answer all his questions about life and love continues to dangle just out of reach, but not for long. The Spinal Cord Perception, the debut novel from Joshua S. Porter, is an unpredictable situation of being pulled involuntarily between the ugliness and beauty of the human experience. A bleak deadpan narrative filled with horrific depravity and deeply moving moments of love and self realization, the story gives and takes away with no warning, leaving the reader to question the paradox of the agony and ecstasy of everyday life.
The right-to-die debate has gone on for centuries, playing out most recently as a spectacle of protest surrounding figures such as Terry Schiavo. In Deconstructing Dignity, Scott Cutler Shershow offers a powerful new way of thinking about it philosophically. Focusing on the concepts of human dignity and the sanctity of life, he employs Derridean deconstruction to uncover self-contradictory and damaging assumptions that underlie both sides of the debate. Shershow examines texts from Cicero’s De Officiis to Kant’s Groundwork of the Metaphysics of Morals to court decisions and religious declarations. Through them he reveals how arguments both supporting and denying the right to die undermine their own unconditional concepts of human dignity and the sanctity of life with a hidden conditional logic, one often tied to practical economic concerns and the scarcity or unequal distribution of medical resources. He goes on to examine the exceptional case of self-sacrifice, closing with a vision of a society—one whose conditions we are far from meeting—in which the debate can finally be resolved. A sophisticated analysis of a heated topic, Deconstructing Dignity is also a masterful example of deconstructionist methods at work.
Contemporary continental thought is marked by a move away from the “linguistic turn” in twentieth-century European philosophy, as new materialisms and ontologies seek to leave behind the thinking of language central to poststructuralism as it has been traditionally understood. At the same time, biopolitical philosophy has brought critical attention to the question of life, examining new formations of life and death. Within this broader turn, Derridean deconstruction, with its apparent focus on language, writing, and textuality, is generally set aside. This book, by contrast, shows the continued relevance of deconstruction for contemporary thought’s engagement with resolutely material issues and with matters of life and the living. Trumbull elaborates Derrida’s thinking of life across his work, specifically his recasting of life as “life death,” and in turn, survival or living on. Derrida’s activation of Freud, Trumbull shows, is central to this problematic and its consequences, especially deconstruction’s ethical and political possibilities. The book traces how Derrida’s early treatment of Freud and his mobilization of Freud’s death drive allow us to grasp the deconstructive thought of life as constitutively exposed to death, the logic subsequently rearticulated in the notion of survival. Derrida’s recasting of life as survival, Trumbull demonstrates, allows deconstruction to destabilize inherited understandings of life, death, and the political, including the dominant configurations of sovereignty and the death penalty.
Deconstruction, it seems, is dead. Its death, according to Jeffrey T. Nealon, is commonly attributed either to suicide—a direct result of its own decline into a formalism it was supposed to remedy—or to murder at the hands of the New Historicists. Looking beyond its presumed demise, Nealon sees its insights as continuing to figure importantly in postmodernist critical debates.
The Coming Death explores the question of death and mortality in several key texts of East Asian literature and cinema. By exposing the specific fields of Japanology and Sinology to the more general discourse of thanatology, Richard Calichman aims to define death more expansively on the basis of loss and disappearance. Typically, death is understood to be purely separate from life: where death is, life is not; and where life is, death is not. Yet this view fails to account not only for the frequency with which living individuals encounter the death of others, but also—and far more radically—for the disturbing fact that life in its unfolding remains at each moment open to the possibility of its own destruction. In this regard, Calichman argues, death must be conceived not simply as an actual event, but even more fundamentally as a general possibility without which life itself could not develop. At issue is how death reveals the emptiness of all identity, which demands that life and death no longer be conceived as purely oppositional. If mortal death can appear at the very origin of life, then the fullness or presence of life is at each instant threatened by the possibility of its negation. Through a reading of the works of such major artistic and intellectual figures as Kurosawa Akira, Tsai Ming-liang, Lu Xun, and Takeuchi Yoshimi, The Coming Death argues for a fundamental rethinking of mortality.
The seventh in our series of Derrida's seminars, Life Death provides interdisciplinary reflections on the relationship of life and death—now in paperback. One of Jacques Derrida’s most provocative works, Life Death deconstructs a deeply rooted dichotomy of Western thought: life and death. In rethinking the relationship between life and death, Derrida undertakes a multi-disciplinary analysis of a range of topics across philosophy, linguistics, and the life sciences. Derrida gave this seminar over fourteen sessions between 1975 and 1976 at the École normale supérieure in Paris to prepare students for the agrégation, a notoriously competitive exam. The theme for the exam that year was “Life and Death,” but Derrida made a critical modification to the title by dropping the coordinating conjunction. The resulting title of Life Death poses a philosophical question about the close relationship between life and death. Through close readings of Freudian psychoanalysis, the philosophy of Nietzsche and Heidegger, French geneticist François Jacob, and epistemologist Georges Canguilhem, Derrida argues that death must be considered neither as the opposite of life nor as the truth or fulfillment of it, but rather as that which both limits life and makes it possible. Derrida thus not only questions traditional understandings of the relationship between life and death but also ultimately develops a new way of thinking about what he calls “life death.”