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Throughout his long career, Jacques Derrida had a close, collaborative relationship with Critical Inquiry and its editors. He saved some of his most important essays for the journal, and he relished the ensuing arguments and polemics that stemmed from the responses to his writing that Critical Inquiry encouraged. Collecting the best of Derrida’s work that was published in the journal between 1980 and 2002, Signature Derrida provides a remarkable introduction to the philosopher and the evolution of his thought. These essays define three significant “periods” in Derrida’s writing: his early, seemingly revolutionary phase; a middle stage, often autobiographical, that included spirited defense of his work; and his late period, when his persona as a public intellectual was prominent, and he wrote on topics such as animals and religion. The first period is represented by essays like “The Law of Genre,” in which Derrida produces a kind of phenomenological narratology. Another essay, “The Linguistic Circle of Geneva,” embodies the second, presenting deconstructionism at its best: Derrida shows that what was imagined to be an epistemological break in the study of linguistics was actually a repetition of earlier concepts. The final period of Derrida’s writing includes the essays “Of Spirit” and “The Animal That Therefore I Am (More to Follow),” and three eulogies to the intellectual legacies of Michel Foucault, Louis Marin, and Emmanuel Lévinas, in which Derrida uses the ideas of each thinker to push forward the implications of their theories. With an introduction by Francoise Meltzer that provides an overview of the oeuvre of this singular philosopher, Signature Derrida is the most wide-ranging, and thus most representative, anthology of Derrida’s work to date.
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This book makes available for the first time in English—and for the first time in its entirety in any language—an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. Copy, Archive, Signature will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time.
Raoul Moati intervenes in the critical debate that divided two prominent philosophers in the mid-twentieth century. In the 1950s, the British philosopher J. L. Austin advanced a theory of speech acts, or the "performative," that Jacques Derrida and John R. Searle interpreted in fundamentally different ways. Their disagreement centered on the issue of intentionality, which Derrida understood phenomenologically and Searle read pragmatically. The controversy had profound implications for the development of contemporary philosophy, which, Moati argues, can profit greatly by returning to this classic debate. In this book, Moati systematically replays the historical encounter between Austin, Derrida, and Searle and the disruption that caused the lasting break between Anglo-American language philosophy and continental traditions of phenomenology and its deconstruction. The key issue, Moati argues, is not whether "intentionality," a concept derived from Husserl's phenomenology, can or cannot be linked to Austin's speech-acts as defined in his groundbreaking How to Do Things with Words, but rather the emphasis Searle placed on the performativity and determined pragmatic values of Austin's speech-acts, whereas Derrida insisted on the trace of writing behind every act of speech and the iterability of signs in different contexts.
Nowadays philosophy is characterized by such heterogeneous intellectual practices that its very unity and coherence seem endangered. What is especially disconcerting is that most authors manage to largely ignore the very existence of methodological positions radically different from their own. Fortunately, there have been exceptions, and the present volume focuses on one of them: the failed debate that took place between John Searle and Jacques Derrida. This book thoroughly analyses that exchange, contextualizing it within the respective philosophical traditions of the two thinkers, with the general aim of turning their dispute into what it was not: a respectful, sensible and fruitful controversy. This episode is thus taken as an opportunity to reflect on the peculiar nature of philosophy as an intellectual practice, and to discuss some of its main themes: language as an instrument for communication, the intentionality of consciousness, and difference as a constitutive element of every text.
'Simon Morgan Wortham's Derrida Dictionary is a spectacular intellectual accomplishment. He has amazing mastery of all Derrida's multitudinous writings (about seventy books, an immense number of articles and interviews). Perhaps the highest praise I can make of this extraordinary and extraordinarily valuable book is that each entry, rather than closing the door on a given Derridean topic, makes you want to go back and read or reread for yourself Archive Fever of Paper Machine or Without Alibi, and all the rest of those seventy books.'-J. Hillis Miller, Distinguished Research Professor of Comparative Literature, University of California, Irvine, USA "This is no ordinary dictionary. Simon Morgan Wortham provides not only comprehensive, rigorously defined, and well contextualised terms that cross-reference other terms and books across the corpus of Derrida's work, but in the process offers a lucid exposition of Derrida's work itself.'-Nicole Anderson, Co-Editor/Founder Derrida Today journal, Macquarie University, Australia The Derrida Dictionary is a comprehensive and accessible guide to the world of Jacques Derrida, the founder of deconstruction and one of the most influential European thinkers of the twentieth century. Meticulously researched and extensively cross-referenced, this unique book covers all his major works, ideas and influences. A-Z entries include clear definitions of all the key terms used in Derrida's writings and detailed synopses of his key works. The Dictionary includes entries on Derrida's major philosophical influences and those he engaged with, from Kant to Levinas. Offering clear and accessible explanations of often complex terminology, The Derrida Dictionary is the ideal resource for anyone reading Derrida, deconstruction or modern European philosophy.
Event of Signature formulates a new philosophical problem which focuses on the handwritten signature as sign of legal identification. Author Michaela Fišerová works with three metaphysical expectations, which are shared in discourses of graphology and forensic analysis. The first expectation tends to reveal the signer's soul: a handwritten signature "naturally" mirrors the unique psychological qualities of the signer. The second expectation tends to guarantee the originality of the signer's trace: a handwritten signature proves physical contact between the signed document and the writing tool "authentically" moved by the signer's hand. The third expectation tends to recognize the signer's legal identity: a handwritten signature is expected to reproduce the signer's personal style, which enables identification by legal authorities. In a methodologically inventive and semiotically-based dialogue with Derrida's deconstruction, Fišerová situates this triple expectation in the interval between life and law. Challenging coverage of this topic finally shows that none of the metaphysical expectations will ever be fulfilled in the event of manual signing. Legal uses of handwritten signature are characterized by the complex aporia of repeating the unrepeatable.
This collection of essays on Jacques Derrida, first published in 2004, spans nearly thirty years of critical thinking about Derrida's work. The articles selected here have never previously been collected, yet they are significant contributions that illuminate difficult and important aspects of Derrida's writings. While not seeking to be comprehensive, the volume ranges over the entirety of Derrida's published output and addresses a number of crucial topics, including literature, iterability, the signature, time, alterity, Judaism, metaphor and death. Reprinted here in chronological order of first publication, the essays are complemented by an introduction by Ian MacIachlan which discusses the significance of Derrida's work for our critical thinking.
This collection of essays explores Derrida’s critique of logocentrism, from the problem of prioritising speech over writing to the fundamental assumptions of the metaphysics of presence. While Derrida is often portrayed as a staunch critic of logocentrism in his reading of philosophical texts, the central premise here is that Derrida was implicitly affirming the necessity of logocentrism in his works. As such, this book explores this implicit affirmation of logocentrism as a relatively stable foundation for meaning that can be revised, altered, and appropriated to give way to new possibilities of meaning, while operating within the context of the axioms of logocentrism.
Derrida's Social Ontology: Institutions in Deconstruction presents the first dedicated study of Jacques Derrida’s philosophy of institutions. While previous studies of Derrida’s thought have considered his engagement with individual institutions—from the university to literature, law, and psychoanalysis, among others—Derrida’s Social Ontology offers the first attempt to reconstruct and defend the philosophical theory of institutions that underlies these engagements. In so doing, the book argues that the theme of “the institution” in Derrida's oeuvre offers the best throughline for understanding the substantively normative significance of deconstruction as a philosophical practice, arguing that Derrida is unique among so-called “postmodern” thinkers in providing an account of the relationship between the historically contingent character of institutions and the normative entitlements that such entities make possible. Specifically, the book shows how Derrida accounts for this relationship in a way that leaves room for a notion of “unconditional responsibility” for the social and political world to the extent that the latter is structured by perfectible institutions. In tracing the development of Derrida’s account of this link between the historicity and normativity of institutional life—from his early writings on the historicity of the institution of philosophy, to his later critiques of practices of institutional cruelty like the death penalty—Derrida's Social Ontology not only offers readers a new framework for making sense of the normative commitments that defined this philosopher's writings, but will also establish the terms for putting his works into conversation with contemporary debates in social and political philosophy and critical theory more broadly.