An exploration of issues of vision, blindness, self-representation, and their relation to drawing, which offers detailed readings of a collection of images from the prints and drawings department of the Louvre. The works under consideration depict blindness--fictional, historical, and biblical.

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself (...) class='Hi'>blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing with another. Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. _Memoirs of the Blind_ is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's _Lettres sur les aveugles_, the notion of mnemonic art in Baudelaire's _The Painter of Modern _ _Life_, and Merleau-Ponty's _The Visible and the _ _Invisible_. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, _Memoirs of the Blind_ extends and deepens the meditation on vision and painting presented in _Truth and _ _Painting_. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts. (shrink)

In Memoirs of the Blind, Derrida not only makes repeated references to anamnēsis in Plato’s texts, but writes the text in a way that follows from the discussions found in Plato’s Meno. Focusing on the account of recollection given in Plato’s Meno reveals a passive structure that is also found in Plato and Derrida’s use of hypothesis. Following Derrida, these insights are applied to self-representation, which is revealed to have a similar structure to the structure found in the (...) logic of hypothesis and recollection. These texts provide an argument for the hypothetical nature of self-representation and the limited knowledge one can claim to have of the self. (shrink)

This chapter shows how Derrida's deconstruction in Voiceand Phenomenon exposes a double necessity that undergirds Husserl's phenomenological inquiry in the “First Logical Investigation,” especially with respect to expression and indication. It turns to Derrida's reflections on the aporia of blindness in Memoirs of the Blind in order to further develop the logic of double necessity and to examine Derrida's divergence from Merleau‐Ponty's thought. The chapter examines Derrida's critique of the auto‐affective movement of temporalization in Voice and Phenomenon that (...) reveals the impossibility of pure auto‐affection. It explores the limits of Merleau‐Ponty's phenomenology where he has moved beyond Derrida's deconstruction of Husserlian phenomenology. For Derrida, Merleau‐Ponty's emphasis on speech and perception reveals his entrenchment in the phenomenological prioritization of presence; “soaring up to the sun of presence, it is the path of Icarus”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Last Puritan: A Memoir in the Form of a NovelChristopher PerriconeThe Last Puritan: A Memoir in the Form of a Novel, by George Santayana; edited by H. J. Saatkamp and W. G. Holzberger; xli & 744 pp. Cambridge: MIT Press, 1994, $50.00.In 1936, Irwin Edman reviewed The Last Puritan for the New York Times. It was a sympathetic review. However, Edman was not blind to the (...) novel’s fundamental weakness: it is driven by ideas, “essences,” rather than characters, ones you might hate or love: “... this is a poet’s novel and philosopher’s tale.... If the characters do not come to life, they live as themes dramatized and as ‘human persuasions.’”This year Harold Bloom wrote in The Western Canon that canonical works are those works which deserve re-reading. As a novel, The Last Puritan does not deserve re-reading, as Tom Jones, The Trial, or Huckleberry Finn, do. But as a philosophy “not argued but presented as a picture” (Edman), The Last Puritan may be among Santayana’s best works. Yes, one reads and re-reads The Last Puritan because one wants to know the ideas of America’s great philosophical poet. Without the philosophy to support the novel, I am not sure it would have a reason for being. One is not interested per se in Santayana’s plot or characters, their friendships and failures, Oliver and Jim, their deaths, or Mario, his paganism and love of life. Rather one wants to be enchanted by [End Page 186] Santayana’s poetic voice; one wants to know what Santayana thinks about the play of spirit and matter and how “the genteel tradition” had so much promise and yet had gone bad. And these are, indeed, in principle, the very same reasons why one reads and rereads Plato, Lucretius, or Dante.The critical edition, put together by Saatkamp and Holzberger, with an introduction by Irving Singer, is a first-class piece of work. It is everything a Santayana scholar would want or need. Singer’s introduction provides the reader with a sound and well-researched background on Santayana and Oliver’s story, and anticipates some problems of aesthetics the reader will face, e.g., the problem of character development. Unlike me, Singer thinks Santayana’s “idealizations” bring vitality to character: “Far from being desiccated types, the great characters in fiction give one a sense of individuality that often seems more natural to us than what is found in nature itself” (p. xix). Notwithstanding my disagreement with Singer, his presentation is well thought-out and plausible.The “Editorial Appendix,” written by Saatkamp and Holzberger, is impeccable. In the “Notes to the Text” they provide the scholar or the curious reader with a marvelous wealth of information. They run down and support with convincing evidence every allusion in the novel. In the “Textual Commentary,” they provide a statement of textual principles and procedures, a description and development of the text, and an explanation of how the critical text was established; in effect, after one has read the product, one can then read about the process by which the product was brought about. Naturally, there are also lists of emendations and variants.As a philosophical novel, I recommend The Last Puritan to anyone who believes that “... what the realm of essence, in its mute eternity, chiefly adds to our notion of nature is the proof that nature is contingent. An infinite canvas is spread before us on which any world might have been painted. The actuality of things is sharpened and the possibilities of things are enlarged. We cease to be surprised or distressed at finding existence unstable and transitory. Why should it have been otherwise? Not only must our own lives be insecure, as earthly seasons change, but perhaps all existence is in flux, even down to its first principles. Dum vivimus, vivamus. Everything, so long as it recognizably endures, is free to deploy its accidental nature, and we may lead the life of reason with a good grace, harmonizing as well as possible our various impulses and opportunities, and exploring the realm of essence as our genius may prompt” (Santayana, “A General Confession... (shrink)

Ethical thought experiments such as the trolley dilemma have been investigated extensively in the past, showing that humans act in utilitarian ways, trying to cause as little overall damage as possible. These trolley dilemmas have gained renewed attention over the past few years, especially due to the necessity of implementing moral decisions in autonomous driving vehicles. We conducted a set of experiments in which participants experienced modified trolley dilemmas as drivers in virtual reality environments. Participants had to make decisions between (...) driving in one of two lanes where different obstacles came into view. Eventually, the participants had to decide which of the objects they would crash into. Obstacles included a variety of human-like avatars of different ages and group sizes. Furthermore, the influence of sidewalks as potential safe harbors and a condition implicating self-sacrifice were tested. Results showed that participants, in general, decided in a utilitarian manner, sparing the highest number of avatars possible with a limited influence by the other variables. Derived from these findings, which are in line with the utilitarian approach in moral decision making, it will be argued for an obligatory ethics setting implemented in ADVs. (shrink)

Virginia Foster Durr was born in 1903 in Birmingham, Alabama in a former planter class family, and in spite of the gradual decline in the family fortune, she was brought up as a traditional southern belle, utterly subjected to the demands of the ideology of white male supremacy that ruled the Jim Crow South. Thus, she soon learnt that in the South a black woman could not be a lady, and that as a young southern woman she was desperately in (...) need of a husband. It was not until she had fulfilled this duty that she began to open her eyes to the reality of poverty, injustice, discrimination, sexism and racism ensuing from the set of rules she had so easily embraced until then. In Outside the Magic Circle, Durr describes the process that made her aware of the gender discrimination implicit in the patriarchal southern ideology, and how this realization eventually led her to abhor racial segregation and the ideology of white male supremacy. As a consequence, in her memoirs she presents herself as a rebel facing the social ostracism resulting from her determination to fight against gender and racial discrimination in the Jim Crow South. This article delves into Durr’s composed textual self as a rebel, and suggests the existence of a crack in it, rooted in her inability to discern the real effects of white male supremacy on the domestic realm and in her subsequent blindness to the reality behind the mammy stereotype. (shrink)

Abstract:This essay explores new technologies of communication, mischievously suggesting that an ordinary memoir, on some fundamental level, is no different from what occurred with a young woman in a persistent vegetative state who “willfully modulated [her] brain activity.” If, as Elaine Scarry famously suggested, readers produce mental imagery “under the instruction of a writer,” then thinking about the role of alternative and augmentative communication (AAC) in providing such instruction might help us to think through the relationship between cognition and generic (...) innovation while, importantly, making room for neurodivergent writers. When George Perec wrote The Void without using the letter “e,” he imposed a restriction that could be said to work a bit like a “tennis-yes, navigation-no” protocol. In Eavesdropping: A Memoir of Blindness and Listening, the blind writer Stephen Kuusisto reinvents travel writing by having hearing and touch take the lead. Narrative itself ends up being transformed. This essay explores how disability puts pressure on the procedures of conventional narrative. (shrink)

Ugo Spirito's _Memoirs of the Twentieth Century_ is the intellectual autobiography of one of the most original and anticonformist contemporary Italian philosophers. In it, Spirito makes an evaluation of his long career (spanning from the decade of the 20's to that of the 70's of the twentieth century) as a thinker who was never satisfied with any theoretical or philosophical system, while constantly aiming at finding a definitive truth: the “incontrovertible” or absolute. The various stages of his search deal with (...) different philosophical and scientific systems - from positivism to actual idealism, from problematicism to omnicentrism, from scientism to neoproblematicism - revealing at the same time an inherent antinomic procedure that does not permit him to take any truth for granted. At the end of his life, Spirito realized that he could only be sure of his present state of “unawareness,” thus challenging the validity of his lifelong investigative activity. “Man cannot know himself,” Spirito wrote. Confronted with the manifestations of life and universe, he could not help but feel a sense of “surprise and astonishment.” Throughout his life, he was only a spectator of his destiny, not the conscious creator of it, as he believed in the early stage of his career. Consequently, he reached a position of negating any value system, bordering on skepticism and nihilism. Within this context, he offered a post-modern interpretation of life. This interpretation was also Spirito's conclusion, and as such, implied a rethinking about other faiths, both political and ideological, that for more than fifty years would develop parallel to philosophical faith. Consequently, he revisited some of the most important philosophical and political personalities who interpreted or materialized those faiths, from Benedetto Croce to Gentile, from Benito Mussolini to Giovanni Bottai, from Togliatti to Pope Paul VI. Spirito was not a thinker who remained secluded within the ivory tower of pure investigation, but in an effort to modify society according to principle of the identification of philosophy with life, he tried to act upon it by following thoughts with action. _Memoirs of the Twentieth Century_ is divided in two parts: one purely autobiographical and theoretical, and the other more historical, where Spirito narrates his relationship with the above-mentioned personalities, as a way of testing the validity of his beliefs. Indeed, one can perceive his moment of adherence to each of the different approaches expounded, only to subsequently detach himself from them. For the English-speaking reader, the second part will appear more interesting and poignant, since Spirito's involvement with history foretells the intellectual fate of a nation. _Memoirs of the Twentieth Century_ is a reflection on life, in which personal history serves as a vehicle for judgment upon an entire century. (shrink)

One could accuse me here of making a big deal and a whole history out of words and gestures that remain very clear. When Madame de Mainternon says that the King takes her time, it is because she is glad to give it to him and takes pleasure from it: the King takes nothing from her and gives her as much as he takes. And when she says, “I give the rest to Saint-Cyr, to whom I would like to give (...) all,” she is confiding in her correspondent about a daily economy concerning the leisures and charities, the works and days of a “grande dame” somewhat overwhelmed by her obligations. None of the words she writes has the sense of the unthinkable and the impossible toward which my reading would have pulled them, in the direction of giving-taking, of time and the rest. She did not mean to say that, you will say.What if … yes she did [Et si].And if what she wrote meant to say that, then what would that suppose? How, where, on the basis of what and when can we read this letter fragment as I have done? How could we even hijack it as I have done, while still respecting its literality and its language? End of the epigraph. Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales in Paris, and professor of French, University of California, Irvine. In the past year, he has published Le Problème de la genèse chez Husserl , Mémoires d’aveugle, l’autoportrait et autres ruines , L’Autre Cap , and Circonfession in Jacques Derrida, with Geoffrey Bennington . Peggy Kamuf is professor of French at the University of Southern California and Directeur de Programme, Collège International de Philosophie in Paris. She is the author of Signature Pieces: On the Institution of Authorship and most recently has edited A Derrida Reader: Between the Blinds. (shrink)

This is an entry into a collective journal of the twenty-first century years of plague. It introduces the notion of ‘lawfare’ by way of the contemporary case concerning Lula da Silva and Brazil’s fall from grace. The latter is presented as an instance of violence in the international context, the managerial attitude to global disasters and, indeed, a plague. It chronicles the social struggles around the case and on that basis builds a somewhat playful manifesto for a new relationship between (...) legal scholarship, the law school and the imaginary of permanent catastrophe and plague. (shrink)

I begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I (...) note the high points as well as the low points concerning the arts of the "visible." The fundamental question is: Does Derrida "see" the drawing, the painting, and indeed listen to the music? (shrink)

Das zentrale »Spätwerk« von Wilfred Bion, die fiktionale Trilogie »A Memoir of the Future« (1975–1979), wurde im deutschsprachigen psychoanalytischen Diskurs bisher wenig beachtet. Die Rezeption wird zweifellos durch die fehlende Übersetzung, aber auch durch die Sperrigkeit und überbordende Komplexität des Werks erschwert. In seiner Trilogie geht es Bion nicht um die Präsentation neuer psychoanalytischer Theorien oder klinischer Fakten, vielmehr ist er darum bemüht, eine Sprache und Form zu finden, die unmittelbare emotionale Erfahrung evoziert. In diesem Erfahrungsbericht sollen in diesem Sinne (...) weniger Inhalte referiert als vielmehr der Versuch einer Untersuchung der Wirkungen, die das Werk im Leser hervorruft, unternommen werden. Das Buch erweist sich als harte Prüfung für die Fähigkeit, Nichtwissen und Nichtverstehen auszuhalten und somit der Verführung zu widerstehen, sich in Altbekanntes zu flüchten und damit das Aufkommen einer tatsächlich neuen Erfahrung zu verhindern. Anhand der detaillierten Analyse eines Kapitels aus dem ersten Band der Trilogie werden die Möglichkeiten der Auseinandersetzung mit dem Werk exemplarisch dargestellt und diskutiert. (shrink)

Rood’s intention is two-fold: to expose the strategic intention and design of the Soviet Union, and to show how "the dangerous inclination democratic peoples have of discounting the likelihood of war" has rendered the West blind to the danger posed by Soviet strategy. The first part of the book chronicles the at first clandestine and then, under Hitler, public rearmament of Germany in violation of the Treaty of Versailles. In support of Churchill’s claim that the Second World War was (...) an unnecessary war, Rood shows, through contemporaneous documentation, the surprising extent to which German political and military activities between the wars were known to the British government. The great failure of British leadership in that period was therefore not one of intelligence; the facts were available. Rather, it was one of interpretation, a failure to see German activity for what it was—preparation for war. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

(2008). william godwin's memoirs of the author of a vindication of the rights of woman and the gender of romantic biography. Angelaki: Vol. 13, re-coupling gender and genre, pp. 17-31.

Mis-readings are not necessarily detrimental, Slavoj Žižek has interestingly argued. In this article, we investigate a mis-reading by the hand of Žižek himself. José Saramago’s intriguing novel Seeing, that tells the story of the massive casting of blank ballots by the population and its political implications, has frequently been mentioned in some of Slavoj Žižek recent work. However, not once has Žižek offered his readers the correct message present in the plot of Seeing. But how do have to interpret this (...) non-detrimental misreading? After having proposed a brief summary of Seeing’s plot and the various versions offered of it by Žižek, this article attempts to demonstrate and explain why Slavoj Žižek could not have not mis-read Saramago’s novel. Žižek’s understanding of a ‘revolution’ does not allow him to fully understand Saramago’s blank ballot vote – it being a valid non-vote, a positive negative. The article concludes with an ‘appeal’ to fully understand the revolutionary (political) power of the blank ballot in times of the democratic relic we are living in. (shrink)

Volume 115 of the Proceedings of the British Academy contains 20 obituaries of recently deceased Fellows of the British Academy and an essay on James Bryce. Memoirs of Fellows have previously been published in the same annual Proceedings volume as that containing the British Academy's Lectures. The Biographical Memoirs are henceforth to be published in a volume of their own, within the Proceedings sequence.

“There are more things in heaven and earth,Horatio, than are dreamed of in your philosophy.”—Shakespeare, HamletDeacon’s incompleteness thesis refers to hidden causal features of nature that are ab...