The paper addresses the problem of the place of deconstruction in the history of transcendental philosophy. J. Derrida’s project is considered as one of the most representative and consistent realizations of theoretical foundations of transcendentalism along with prominent conceptions such as Kant’s critique and Husserl’s phenomenology. The author suggests a number of attributes of transcendental thinking that allow historical reconstruction of the transcendental paradigm. Derridian approach is considered as a turn towards this tradition, conceived as a transcendental tradition par exellence, (...) guided by the attitude of «turning. Historical legacy of deconstructive «turning» is analyzed with respect to Husserlian Rückfrage: return-inquiry as method, idea and attitude, reproducing in deconstructive strategy of interpretative critique. A concept of hyperbolic transcendentalism is introduced in order to (1) define a deconstructive version of transcendental philosophy and (2) indicate an immanent tendency in the transcendental thought, constitutive for both Kantian critical project and Husserlian strive towards intellectual radicalism extending from methodological hyperboles (reduction and epoche) to radicalization of «transcendental motive». The author relies upon the concept of quasi-transcendental (thematized by Derrida himself), which defines a mode of de-dogmatization, critical purifying and preservation of proper transcendental foundations of philosophical thinking. (shrink)

The purpose of this paper is to establish a proper context for reading Jacques Derrida's The Gift of Death, which, I contend, can only be understood fully against the backdrop of "Violence and Metaphysics." The later work cannot be fully understood unless the reader appreciates the fact that Derrida returns to "a certain Abraham" not only in the name of Kierkegaard but also in the name of Levinas himself. The hypothesis of the reading that follows therefore would be that Derrida (...) writes The Gift of Death not as an attempt to re-present Kierkegaard's Abraham either rightly or wrongly but as an effort to do with Kierkegaard's Abraham what is possible with his thought in a broadly Levinasian/Derridean framework. That the reading he provides of the Abraham story would not be recognizable to Kierkegaard is not the principal point of Derrida's effort; his aim is to demonstrate that Levinas should not have been so hasty to dismiss Kierkegaard but could have recovered his interpretation of Abraham for purposes that Derrida and Levinas both share. (shrink)

The purpose of this paper is to establish a proper context for reading Jacques Derrida’s The Gift of Death, which, I contend, can only be understood fully against the backdrop of “Violence and Metaphysics.” The later work cannot be fully understood unless the reader appreciates the fact that Derrida returns to “a certain Abraham” not only in the name of Kierkegaard but also in the name of Levinas himself. The hypothesis of the reading that follows therefore would be that Derrida (...) writes The Gift of Death not as an attempt to re-present Kierkegaard’s Abraham either rightly or wrongly but as an effort to do with Kierkegaard’s Abraham what is possible with his thought in a broadly Levinasian/derridean framework. That the reading he provides of the Abraham story would not be recognizable to Kierkegaard is not the principal point of Derrida’s effort; his aim is to demonstrate that Levinas should not have been so hasty to dismiss Kierkegaard but could have recovered his interpretation of Abraham for purposes that Derrida and Levinas both share. (shrink)

Both in his earliest debates with thinkers such as Foucault and Levinas, and in later critiques of political immediacy, Derrida invoked the inescapable burden of a necessary but impossible universalism. By raising the stakes so high it would seem that deconstruction generates hyperbolic conceptions of ethics and justice, but also precludes any form of day to day political positivity. In this essay I pursue the seemingly less ‘ethical’ conception of play in Derrida's work to argue for a multiple universalism.