이 글은 강렬한 인상과 사유를 통해 대립적 색채-형상의 예술미를 표현하였던 고흐의 예술 세계에 내포되어 있는 해체주의적 특성과 살-존재론적 특성을 밝히고, 이를 토대로 새로운 창의적 예술 세계가 펼쳐질 수 있는 미래지향적 예술의 한 양상을 제시하는 미래지향적 예술미로서의 통섭미를 밝히는 것을 목적으로 한다. 해체란 파괴임과 동시에 구성이다. 고흐의 예술 세계가 내포하고 있는 해체주의적 특성은 인상적인 보색 대비의 양상에서 잘 드러난다. 회화에서 색채와 형상의 차연적인 흔적을 통해서 아름다운 것들은 드러난다. 색채와 형상을 통한 아름다움은 바로 아름다운 것들의 흔적에 의한 것이다. 그것들은 차이의 시간·공간적 네트워크로서의 (...) 흔적이다. 모든 시각적 흔적들은 차이 혹은 차연의 기호들이다. ‘자연의 사물이나 생명체’는 ‘예술적 색채’에 대한 색채의 살이 되고 동시에 ‘예술적 색채’는 ‘자연의 사물이나 생명체’에 대한 살이 된다. 이런 살은 교차와 얽힘으로서의 살이다. 색깔이 형상적 대상에 무한히 비결정성의 열기를 부여하기 때문에, 색깔은 색의 차이들과 더불어 깊이를 구성하는 것이다. 색깔은 우선 변화의 다른 차원, 즉 주변과 관계하는 차원에서 변화한다. 이런 가운데 살-존재론적인 예술적 살은 존재의 열개가 된다. 차이장으로서의 예술적 텍스트는 흔적의 차이와 잠재적인 가능적 차이 및 존재론적 살적 작용을 내포하고 있다. 이와 같은 텍스트의 특성을 토대로 차이장 속에서 항상 현재적 차이와 가능적 차이를 머금고 살아 움직이는 통섭미를 추구하는 것은 미래지향적인 예술미와 새로운 미학의 세계를 위한 길이 될 것이다. (shrink)

The analysis concerns the German authors Ingeborg Bachmann, Irmtraud Morgner and Christa Wolf as the main representatives of gynocentric prose of Germany of the second half of the 20th century. Ingeborg Bachmann’s, Irmtraud Morgner’s and Christa Wolf’s works are considered in domestic and foreign criticism, particularly social and cultural and gynocentric aspects of the ethical aesthetic author’s searching. In the article the phenomenon of gynocentric literature is developed and the difference between the gynocentric and a woman’s prose is explained. In (...) addition the analysis concerns the history of the gynocentric literature development by example of the three German-speaking authors. The realization of the key principles of gynocentrism such as deconstructivism, author’s myth-making and authenticity is observed by the examples of their works. (shrink)

In this article we give some elements of the debate between the liberationist, decolonialist and deconstructivist currents around the problem of Eurocentrism. In the first place, we identify some of the contributions of Jacques Derrida's thought to this debate from his reading of three representative authors of European thought: Husserl, Hegel and Heidegger. Secondly, we give some elements on the way in which certain forms of decolonialism and liberationism conceive not only their difference with Eurocentrism, but also the difference between (...) European thinkers to whom they feel linked and this same Eurocentrism. Finally, in the third place, we briefly review two versions of deconstructivism that seem able to dialogue despite the distance, two versions of wandering between Latin America and Europe. (shrink)

Deconstructivism constantly remits to two metaphysical problems of enormous importance: the reference of the ideal to the real, and the relationship of the changeable to the permanent. Both problems have been the object of concern of professor Millán-Puelles: the first one (reality/the ideal), in his book Teoría del objeto puro; and the second one (change/-permanence), in La estructura de la subjetividad.

Contre une interprétation déconstructiviste de la question de l'animalité, on s'attache à montrer, par une présentation précise des objections adressées à P. Singer par G. Francione, que l'éthique animale « classique » comporte en elle-même les ressources d'une pensée critique extrêmement audacieuse.

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)

The interventionist turn in science and technology studies increasingly involves researchers with practices of technology development and thus entails the need for appropriate methodologies. Based in software engineering, this article introduces the deconstructive technique of “mind scripting” as a method for analyzing processes of the co-materialization of gender and technology and as a tool to support cooperative, reflective work practices. Anchored in critical design approaches, “mind scripting” is a means for development teams to disclose discourses implicitly guiding work practices in (...) order to make negotiable the underlying value systems. After discussing its foundation in deconstructivist feminist theory, the author illustrates how the method is applied by drawing on selected empirical results. Generating insights into the reproduction of hegemonic social discourses in development processes, “mind scripting” enables the rethinking of established ways of doing. (shrink)

This article discusses the relationship between a deconstructivist method in science and technology studies and the more recent moves towards a reconstructivist engagement with science and science policy making. Drawing on examples from the author's own research, the article identifies three forms of engagement and their relative utility and limitations. The article argues that these are typical of STS work that seeks direct engagement with science policy making and which could form the basis for a more "serviceable STS" that retains (...) its critical and independent perspective on science. The paper concludes by arguing that the analysis has important implications for the ways in which STS expertise can articulate with science policy making. (shrink)

We live in the age of postmodernism. What does that mean? With a call for essays, we asked for proposals for a better understanding. At the same time, we were looking for posts that show how the arts have processed and are still processing the change from the modern to the postmodern selfconception of man, which has been described by philosophy since the 1950s to today. This special issue thus demonstrates how architects, designers and artists have reacted to the new (...) socio-politically relevant concepts of postmodernism. -/- With contributions of Simone Kraft on architecture, Arianna Fantuzzi on self-portraits, Stephan Schmidt-Wulffen on visual arts in the 1980s, Anna Kristensson on design, Iris Laner on postmodern theory and the work of Jeff Wall, Christiane Wagner on postmodern avatars and finally, I contributed with a text on the deconstruction of the familiar in postmodern theory and the work of Karin Kneffel. (shrink)

In this paper, I investigate whether phenomenological description can help in transforming an unjust or violent situation. If one can agree that describing the situation of a group of marginalised subjects is necessary in order to define what is going wrong, then the question of whether the method can help change these states, remains unanswered. With this in mind, I then suggest that phenomenological description can only serve critical causes, under the condition that it takes the transformative power of language (...) into account: by describing our experiences we already transform them. To this end, I draw on deconstructivist approaches, which focus on language as a social act of addressing oneself to others. I conclude by arguing that description can itself be a transformative tool – if we stress how it takes place under conditions of address that necessarily shape the experience to be described. (shrink)

Making meaning out of life requires effort, sustained thought and action. It can be difficult to reassert our responsibility for solving real life problems from within social science research or current trends, such as extremely deconstructivist text, and postmodernism in its cheerfully nihilistic guise. Hermeneutical philosophy, of the Ricoeurian reconstructive mode, rehabilitates text as a powerful device for influencing others and offers us courage to proceed with the human project by developing a way of writing, thinking and behaving that is (...) provisional, affirmative and conciliatory, yet constantly questioning. Ricoeur invites the person, both reflective subject and empiricist object of research, to combine these elements and use written text and action as text for an active mode of living. Within philosophy he attempts to achieve a rapprochement between hermeneutical and rational thought. Understanding oneself, through better understanding of the other, derives benefit from crossing disciplinary boundaries between, in this study, philosophy and the social sciences (education and psychology), in order to attempt to move from the particular, individual issues to the general, holistic view and return to one’s own situation to act for oneself and others. Ricoeur offers us the opportunity to repossess language, to be ethical and practical, and to challenge the hegemony of Explaining, going beyond method and methodology into epistemology and beyond fact into Understanding: an ontology of hope that makes sense of plurality, without the damage of relativism. This text attempts a narrative ethics, illustrating how Ricoeur’s work transformed my thinking from that of a method-bound psychologist to that of, perhaps, a philosopher in the making. (shrink)

The new critical edition of Stein’s lectures on philosophical and theological anthropology makes it possible to research further her theory of the person as developed during her middle period in Munster, that is, between 1932 and 1933. Her project revolves around the anthropological foundations of a Catholicpedagogy. Th is phase of her work is marked by various debates. On one hand, she attempts to bring the intellectual legacy of Husserl and phenomenology intodialogue with Thomas Aquinas and other Scholastic thinkers. On (...) the other hand, she confronts the ideas and spirit of National Socialism with her Catholic faith.Stein’s Munster phenomenological method contrasts with Husserl’s transcendental phenomenology; she develops an “eidetic psychology within a universal ontology.” In her “somatological” anthropology, the human being appears as a unity of lived body, soul, and mind. As a person, the human being is investigated as species, double species (man-woman), individual, as having a communal essence (outside the concept of race), and, ultimately, as a seeker of God. Stein examines the freedom of human beings, which lies between the givens of nature and grace, as well as the tension between knowledge and faith. In the final section of this paper, I discuss Stein’s position over against contemporary deconstructivist feminism. (shrink)

The article focuses on reconstructing the structures of implicit criticism on postmodern understanding of music, found within the discourse of a dispute between Alain Badiou and Philip Lacou-Labar the concerning philosophical interpretation of Richard Wagner's musical works. It was revealed that A. Badiou proposes a program to overcome the characteristic deconstructivist reduction of art to politics that brings the former to another by-product of ideology. Negative conceptual apparatus of deconstruction is opposed by A. Badiou with a hermeneutics, characterized by affirmative (...) morphology and syntax constituted onto the pragmatics of a lesson, teaching action, open gesture of involvement. Badiou si an approach marks a good possibility of overcoming the methodological and ideological deadlock of postmodernity. This new wave of philosophical debates around Richard Wagner responds to the revival of grand epical genres in mass culture. Consequently a new dialectical thinking must be taught in order to continue the tradition of critical approach to culture. This is the key implication of A. Badiou's lessons on how it is possible to rethink the works of art and historically determined approaches to understanding them besides the clich?s of the recent postmodernist legacy. Although Badiou's critique itself can be seen as a kind of postmodernist interpreting technique, the French philosopher manages to escape the overt radicalism of postmodernist claims against Wagner by means of true radicalityof affirmative interpretation inspired not by suspicion of a concealed truth but rather a commitment to a truth to come. (shrink)

Since of much of modern discourse, extending from cognitivism to connectionism to deconstructivism, has been greatly inclined to look at reality in relation to processes where the personal factor plays little if any causal role, the pursuit of wisdom today has become primarily identified with the logos or the pursuit of a rational account of reality and the rule governing principles behind it. Although there is not space enough to traverse all that is involved here, it will be argued (...) in this paper that the secrets of wisdom will never be revealed if its nature is limited to a singular description of just one function of thought. What is needed if the love of wisdom is to be regained is a more dynamic and symmetrical account—one that considers the reconstructive e nature and generative e capabilities of the human mind as well as the flexibility and complexity of thought; one that realizes that the end stages of logos are only the by-product of insight obtained from more personal and emotionally charged meaning; and one that takes seriously the role of mythos in the thinking process. (shrink)

A common feature of scientific and ethical debates is that clones are generally described and understood as “copies” or, more specifically defined, as “genetic copies.” The attempt of this paper is to question this widespread definition. It first argues that the terminology of “clone as copy” can only be understood as a metaphor, and therefore, a clone is not a “genetic copy” in a strict literal sense, but in a figurative one. Second, the copy metaphor has a normative component that (...) is problematic in the context of descriptive science and may support or indicate the ethically relevant phenomenon of objectification of animals. In order to support the argument against the common conception of a clone as a copy, the biotechnological principles of somatic cell nuclear transfer cloning will be examined. On this basis, it will be shown that the metaphor is valid because of similarities between the phenotype, the genotype, or the nuclear DNA sequence of the clone and its progenitor by using three prominent levels of comparison. Focusing on the process of SCNT, it will be shown that cloning as copying or doubling has to be redefined for scientific purposes because it is neither necessary nor does it fit to the biotechnological principles of cloning. It is more accurate to understand SCNT cloning as a process of splitting rather than of doubling or copying. In the second part, a deconstructivist analysis based on Jacques Derrida’s description in Positions will reveal the normative potential of the original–copy dichotomy. I will be showing that it includes an asymmetrical power structure between the original and the copy and that this structure can be reversed or at least considered unstable. Therefore, arguments that build on that metaphor must be reconsidered. Moreover, the analysis reveals that applying a terminology to humans and animals that is commonly used for things becomes the language of objectification. Two selected examples, fungibility and violability, based on Martha Nussbaum’s notion of objectification will support the thesis of objectification, display its normative consequences, and put the clone as a copy metaphor in a broader range of ethically questionable research tendencies. (shrink)

Four Phenomenological Philosophers is the first book to examine the major texts of the leading figures of phenomenology in one volume. In separate chapters, the book explores the ideas of Edmund Husserl, Martin Heidegger, Jean-Paul Sartre and Maurice Merleau-Ponty with detailed readings of their most important texts. The constantly evolving ideas of Edmund Husserl, the founder of phenomenology, are presented through a review of the three major periods of his work. Martin Heidegger, who made a decisive and controversial break with (...) his teacher, Husserl, set forth his own phenomenological program in Being and Time. Jean-Paul Sartre, who transplanted the tradition from its origins in Germany to the streets of Paris, set forth his existential phenomenology in Being and Nothingness. The Phenomenology of Perception was the best and most representative work of Maurice Merleau-Ponty, a contemporary of Sartre whose career was cut short by his early death. A knowledge of these key thinkers and their major texts is essential to an understanding of many of the major themes of contemporary philosophy, from hermeneutics and existentialism to postmodernism and deconstructivism. This book provides the ideal introduction to this important philosophical tradition. (shrink)

How the Study of Consciousness and Mapping Spiritual Experiences Can Reshape Religious Methodology This special issue of the Journal of Consciousness Studies throws down a methodological challenge to the field of Religious Studies. Over the last half century, the academic study of religion has developed a variety of angles and approaches: structuralist, Eliadian, Marxist, feminist, and so on. Recently, approaches popular in many institutions and departments have centred on linguistic and cultural analysis, notably the postmodern and deconstructivist approaches championed by (...) Derrida and others. With the dawn of the interdisciplinary field of the study of human consciousness, and with this issue of the Journal of Consciousness Studies, we challenge this prevailing approach by presenting readers with articles analysing religion, spirituality, and spiritual experience, not solely as cultural phenomena, but as phenomena that can be related to human physiology, and a kind of pan-human technology of human spiritual development. (shrink)

The essays in this volume convince me of something which, until now was only a hypothesis of mine. Academic discourse, and perhaps American university discourse in particular, possesses an extraordinary ability to absorb, digest, and neutralize all of the key, radical or dramatic moments of thought, particularly, a fortiori, of contemporary though. Marxism in the United States, though marginalized, remains deafly dominant and exercises a fascination that we have not seen in Europe since the Russian Proletkult of the 1930s. Post-Heideggerian (...) "deconstructivism" though esoteric, is welcomed in the United States as an antidote to analytic philosophy or, rather, as a way to valorize, through contrast, that philosophy. Only one theoretical breakthrough seems consistently to mobilize resistances, rejections and deafness: psychoanalysis—not as the "plague" allowed by Freud to implant itself in America as a "commerce in couches" but rather as that which, with Freud and after him, has led the psychoanalytic decentering of the speaking subject to the very foundations of language. It is this latter direction that I will be exploring here, with no other hope than to awaken the resistances and, perhaps, the attention of a concerned few, after the event .For I have the impression that the "professionalism" discussed throughout the "Politics of Interpretation" conference is never as strong as when professionals denounce it. In fact, the same preanalytic rationality unites them all, "conservatives" and "revolutionaries"—in all cases, jealous guardians of their academic "chairs" whose very existence, I am sure, is thrown into question and put into jeopardy by psychoanalytic discourse. I would therefore schematically summarize what is to follow in this way:1. There are political implications inherent in the act of interpretation itself, whatever meaning that interpretation bestows. What is the meaning, interest, and benefit of the interpretive position itself, a position from which I wish to give meaning to an enigma? To give a political meaning to something is perhaps only the ultimate consequence to he epistemological attitude which consists, simply, of the desire to give meaning. This attitude is not innocent but, rather, is rooted in the speaking subjects' need to reassure himself of his image and his identity faced with an object. Political interpretation is thus the apogee of the obsessive quest for A Meaning.2. The psychoanalytic intervention within Western knowledge has a fundamentally deceptive effect. Psychoanalysis, critical and dissolvent cuts through political illusions, fantasies, and beliefs to the extent that they consist in providing only one meaning, an uncriticizable ultimate Meaning, to human behavior. If such a situation can lead to despair within the polis, we must not forget that it is also a source of lucidity and ethics. The psychoanalytic intervention is, from this point of view, a counterweight, an antidote, to political discourse which, without it, is free to become our modern religion: the final explanation.3. The political interpretations of our century have produced two powerful and totalitarian results: fascism and Stalinism. Parallel to the socioeconomic reasons for these phenomena, there exists as well, another, more intrinsic reason: the simple desire to give a meaning to explain, to provide the answer, to interpret. In that context I will briefly discuss Louis Ferdinand Céline's texts insofar as the ideological interpretations given by him are an example of political delirium in avant-garde writing.Julia Kristeva,professor of linguistics at the University of Paris VII and a regular visiting professor at Columbia University, is the author of Desire in Language: A Semiotic Approach to Literature and Art and About Chinese Women.Margaret Waller, a doctoral candidate in French at Columbia University, is currently translating Kristeva's Revolution du langage poétique. (shrink)

Martin Heidegger (1899-1976), born in Baden, Germany, is one of the most important philosophers of the twentieth century. The one-time assistant of Edmund Husserl, the founder of the phenomenological movement, Heidegger established himself as an independent and original thinker with the publication of his major work Being and Time in 1927. This collection of papers is the most comprehensive and international examination of Heidegger's work available. It contains established classic articles, some appearing in English for the first time, and many (...) original pieces provided especially for this collection. The cross-cultural and political aspects of Heidegger's thought are examined, including his relationship to the Nazi party. The purpose of this collection is to provide a critical examination of Heidegger's work which evaluates its limits as well as its strengths, and to assess the prospects for the future development of his thought. Since many of the leading themes of contemporary philosophy such as hermeneutics, phenomenology, existentialism, postmodernism and deconstructivism trace their intellectual heritage back to Heidegger, this collection will be an indispensable guide to the issues which are currently being disputed in the field of philosophy. (shrink)

This searching examination of the life and philosophy of the twentieth-century Indian intellectual Jarava Lal Mehta details, among other things, his engagement with the oeuvres of Martin Heidegger, Hans-Georg Gadamer, and Jacques Derrida. It shows how Mehta’s sense of cross-cultural philosophy and religious thought were affected by these engagements, and maps the two key contributions Mehta made to the sum of human ideas. First, Mehta outlined what the author dubs a ‘postcolonial hermeneutics’ that uses the ‘ethnotrope’ of the pilgrim to (...) challenge the philosophical hermeneutic emphasis on supplementation and augmentation. For Mehta, the hermeneutic encounter ruptures, rather than supplements, the self. Secondly, Mehta extended this concept of hermeneutics to interrogate the Hindu tradition, arriving at the concept of the ‘negative messianic’. In contrast to Derrida's emphasis on the 'one to come', Mehta shows how the Hindu bhakti model represents the very opposite, that is, the 'withdrawn other,' identifying thereby the ethical pitfalls of deconstructivism's emphasis on the messianic tradition. This is the only full-length study in English of this high-profile Hindu philosopher. (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)

Narrativist philosophy of history rejects all attempts to establish an epistemological link between the past and its historical representation. Two forms of narrativism should be distinguished. The first form attacks epistemology by stressing the autonomy of historical writing with regard to the past itself ; the second form does the same by de-contextualizing the elements of the past—the very idea of the past thus becomes problematic and epistemological queries can no longer even be formulated. The first form of narrativism is (...) synthetical, suggesting that the historian should construct broad panoramical views of the past ; the second, on the contrary, aims at a dispersive dissolution of the past. The article concentrates upon the dispersive form of narrativism. It is exemplified in Ginzburg's 'micro-storie'. The implication that these 'micro-storie' should not primarily be seen as historiography in the proper sense of the word but rather as a form of narrativist philosophy of history (expressing a theory of historical representation) is accepted wholeheartedly. It is shown that the 'micro-storie' come very close to Derrida's deconstructivist reading of texts. For in both cases we have to do with 'ruptures' announcing themselves in small, seemingly insignificant details. The conclusion of the article is that the synthetical and the dispersive forms of narrativism need each other and that we can give meaning to the concept of an objective historical reality only if we accept both of them. (shrink)

Russian philosophy has always lived on translations. Difficulties in the process of creating a conceptual language used to be overcome gradually, one by one. Now, in the post-Soviet period after all of the locks had been opened, the accelerated development of Russian culture often causes us to assimilate deconstructivism before constructivism and some newer versions of phenomenology before Husserl. It brings about a cultural paradox which cannot be solved by habitual philosophical means. My point here is that Russian philology (...) is able to contribute toward finding a way out. The paper aims to justify this idea. (shrink)

The new critical edition of Stein’s lectures on philosophical and theological anthropology makes it possible to research further her theory of the person as developed during her middle period in Munster, that is, between 1932 and 1933. Her project revolves around the anthropological foundations of a Catholicpedagogy. Th is phase of her work is marked by various debates. On one hand, she attempts to bring the intellectual legacy of Husserl and phenomenology intodialogue with Thomas Aquinas and other Scholastic thinkers. On (...) the other hand, she confronts the ideas and spirit of National Socialism with her Catholic faith.Stein’s Munster phenomenological method contrasts with Husserl’s transcendental phenomenology; she develops an “eidetic psychology within a universal ontology.” In her “somatological” anthropology, the human being appears as a unity of lived body, soul, and mind. As a person, the human being is investigated as species, double species (man-woman), individual, as having a communal essence (outside the concept of race), and, ultimately, as a seeker of God. Stein examines the freedom of human beings, which lies between the givens of nature and grace, as well as the tension between knowledge and faith. In the final section of this paper, I discuss Stein’s position over against contemporary deconstructivist feminism. (shrink)

An exploration of the connections between law, science, and truth, this paper argues that ‘truth’ is an evolving, rather than fixed, concept. It is a human creation, and the processes, or standards, by which it has been evaluated have changed over time. Currently knowledge production is anchored in the natural sciences but reproduced and validated by philosophical rationalisation. There are two problems with this technique of knowledge verification (or ‘veridiction’). First, the natural sciences are not, in fact, practiced according to (...) their ideal forms; and second, the Queen of Sciences, physics, underwent two fundamental paradigm shifts in the early nineteenth century. General relativity and quantum theory entered the scene, sending ripples throughout science, and the social sciences. These changes too have been slowly absorbed by philosophy, giving rise in part to the postmodernist and deconstructivist movements. I chart this gradual evolution of truth and knowledge production in physics and in law and analyse the resistance it has faced from both classical law and classical physics. Finally I argue that this resistance could be overcome, if legal theory, and especially legal positivism, would embrace a more accurate and up-to-date understanding of the science it purports to examine and emulate. (shrink)

The notion of gender, introduced into France by queens and drags in the late 20th century (the glorious period of the "drag-queens") and revitalized by American "queer", follows a traditionally feminist path where homosexual and particularly male issues are once again being hidden away. Having played a big part in popularizing that first version, Patrick Cardon proposes, in order to avoid any misunderstanding and escape once for all from any attempts at reification, to use the term and the universal notion (...) of transgender, which would cover the deconstructivist notions of queer, post-colonial and cultural studies, in order to give a place intelligently to ALL diversities beyond any binarism and with a foresight of future hybridity. (shrink)

René Girard’s work often seems suspect to liberals, because it appears as a totalizing narrative. Such hesitancy with respect to either dismissing or endorsing it follows from the demise of “grand narratives” that brought with them imperialistic and hegemonic tendencies. Yet if a liberal viewpoint does not embrace Girard, it is for different reasons that conservatives are either fully supportive of his thought as promising a return to religious values or hesitant about accepting his theories because they critique a form (...) of violence inherent to any community. Girardian thought, it can be argued, has focused on deconstructing mythological justifications for violent activity at the expense of establishing a fruitful position regarding positive communal formations. The tensions between these juxtaposed liberal and conservative viewpoints, as taken up in this article, illustrate an impasse between deconstructivist-genealogists and communitarians —one that shows up in a variety of contexts today. Highlighting this particular standoff in interpretations of Girard can, nevertheless, yield important insights regarding the ultimate significance of his work. (shrink)

The recent ‘new realist’ wave in philosophy reacts to the postmodernist/deconstructivist rejection of the notions of truth and objectivity by affirming the priority of the real over the subjective and socially constructed. Crucial in this dynamics is, among other things, the refusal of the anti-scientific stance integral to the non-realist view. In light of this, it is advisable to look at the new realism vs. antirealism debate from the perspective of the seemingly more local dispute concerning scientific realism vs. antirealism. (...) Indeed, doing this enables one to exploit elements that are peculiar to the discussion concerning the epistemic content of scientific theories with a view to properly evaluating, and even clarifying and further articulating, the ‘new realist’ stance itself. (shrink)

A close examination of the relation between philosophy and myth reveals important functional parallels in some of their basic means of operation that helps shed some light on philosophy's overall task. A crucial aspect of the structural similarity between philosophy and myth is the generation of what Hans Blumenberg calls “significance.” I argue that the preservation and enhancement of significance (through a strong affinity to myth) is an essential and overlooked aspect of philosophy's task, one best accomplished through the world‐orienting (...) work of speculative philosophy. By weaving the fragmented insights, criticisms, lessons, and methods of the more “specialized” analytic, pragmatic, critical, postmodern, deconstructivist, and other methods of thought together in a systematic way, speculative philosophy may be able to provide us with the kind of world orientation needed for developing a healthier, richer, more profound understanding of ourselves and our proper place within the world. (shrink)

In the United States, it is common for people entering christian organizations to receive explanation of what the Bible means before being handed the book and asked to read. Religious ideological transfer stems from this strict codification, and the Story of Abraham highlights the effective blending between original text and interpretation. Recognizing how the Story of Abraham calls for, as Kierkegaard suggested, a suspension of the ethical for obedience, it justifies entrance into a religious state of exception, a fully subjective (...) moment into which the sole sovereign of “divine will” is the self. The social ramifications, beyond a-logical relativism, involve the historic and continued justification of religious otherization and dehumanization, shrined in a belief of divinity. In contemporary debate, the religious hunker down, entrenching themselves within their ideology, while many in deconstructivist camps want to tear these institutions apart. I suggest a middle-ground: a radical reinterpretation — through philosophical, linguistic and literary theory methods — of the Story of Abraham as a narrative reflecting the Tower of Babel motif, to work within the christian ideological system to create strategic biblical interpretations for positive social effect. (shrink)

There have, by now, been a number of thorough-going critiques of what has variously been called the ‘equality’, ‘equity’ or ‘liberal’ approach to understanding ‘the woman problem in technology’ by those who would prefer to focus on ‘the technology question in feminism’. Most of these critiques adopt deconstructivist techniques to expose the limitations of equality approaches, including, most centrally, their assumptions about the neutrality of technology and the limited nature of equality programmes designed simply to increase access for women to (...) that technology. However, the critiques themselves have so far failed to come up with convincing alternative interventionist strategies, either because the universalizing tendency of their theoretical perspective gives rise to interventions that fail to deal with the diverse and fragmented nature of women's experiences and needs, or because recognition of this diversity and fragmentation leaves very little common ground on which to build successful intervention strategies. This article addresses this dilemma in the context of computing and IT education and draws on empirical research on women's experiences of computing and IT in two different educational settings where issues of gender difference and equality were managed in very contrasting ways. It then offers some suggestions for how both a critical and constructivist discourse on technology might be made to coexist in educational programmes designed to promote gender equality. (shrink)

"Nietzsche - Extreme Philosophy of Language?" The coherence of the Nietzschean conception of language is discussed in the article. First, Nietzsche's critique of the referential semantics and the correspondence theory of truth implied by the so-called "tropological" linguistic theory as well as the doctrine of perspectivism is questioned. Consequently, the core of the argumentation is to reveal the naturalistic and metaphysical assumptions of Nietzsche's strict relativistic philosophy of language and interpretation. The conclusiveness of the Nietzschean deconstruction of metaphysics as a (...) pure language creation seems to be doubtful with regard to his construction of the 'will-to-power metaphysics'. Moreover, the reception of the Nietzsche’s philosophy as deconstructivistic after the II World War has to be revised while confronted with his hermeneutical philology. Finally, the status of the Nietzschean affirmation of reality as a play of interpretations in accordance with Paul de Man can be recognized as purely rhetorical. (shrink)

Constructive technology assessment aims at anticipating societal impacts of technological innovations and suggests incorporating reflexivity and social learning into technology development. Social learning involves fostering the ability of diverse social actors to cultivate sociotechnical critical skills, thus allowing technological and social change to be governed with consideration for social values and diverging interests. Based on this demand, our paper presents a discourse-theoretical, interventionist approach to software design introducing deconstruction and (un-)learning as reflective practices to guide development processes. Inspired by Donna (...) Haraway’s focus on power relations in technoscience culture, our approach—called ‘deconstructive design’—traces how structures such as in/formal hierarchies and discursive hegemonies affect the development processes and design decisions of teams or communities of practices. The underlying deconstructivist methodology refers to practice-based concepts of situated learning. Thus, it locates a potential for value-based intervention at the micro/meso-level of everyday work practices. (shrink)

Bernhard Kleeberg/Andreas Langenohl: »Culturalisation, deculturalisation«. This article discusses variations in the analytic category of »culture« which has recently become prominent, with respect to ideal-typical idiomologies of deculturalisation as well as culturalisation. They are examined against the background of the systematic differentiations that are formulated in the renewed epistemic perspective of constructivism, deconstructivism and essentialism.

The search for the best strategy in literacy education is a lingering phenomenon. From time to time one strategy is claimed to work best, only to be critically challenged and replaced by another. There is always debate about what the best strategy is. The belief that there is supposed to be only one best strategy is not consistent with the fact that there are diverse views on what it should be. This paper argues that the search for the best strategy (...) is not looking for the best among various practices. Instead, it calls for a critical examination of our underlying philosophical beliefs about it. Hence, the discussion of the best strategy is divided into three philosophical phases: objectivist, deconstructivist, and praxis. The search is argued to be taking a journey of philosophical investigations rather than finding a certain practice superior to all others. (shrink)

Cet essai dénonce comme fascisantes certaines tendances de la pensée des philosophes déconstructivistes. Selon l'auteur, ils ont fait l'apologie d'un nouveau nihilisme qui a eu pour résultat des phénomènes paradoxaux tels que la sympathie envers l'islamisme radical, le détournement des arts ou la naturalisation de la crise des institutions.

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Chora L Works documents the unprecedented collaboration, initiated in 1985, between philosopher Jacques Derrida and architect Peter Eisenman on a project for the Parc de la Villette in Paris. Woven into the volume are discussion transcripts, candid correspondence, and essays, as well as sketches, presentation drawings, and models. Derrida and Eisenman's design process was guided by Plato's chora text from the Timeaus; their unique reciprocal relationship was an interchange - and transformation - of voices.

Making meaning out of life requires effort, sustained thought and action. It can be difficult to reassert our responsibility for solving real life problems from within social science research or current trends, such as extremely deconstructivist text, and postmodernism in its cheerfully nihilistic guise. Hermeneutical philosophy, of the Ricoeurian reconstructive mode, rehabilitates text as a powerful device for influencing others and offers us courage to proceed with the human project by developing a way of writing, thinking and behaving that is (...) provisional, affirmative and conciliatory, yet constantly questioning. Ricoeur invites the person, both reflective subject and empiricist object of research, to combine these elements and use written text and action as text for an active mode of living. Within philosophy he attempts to achieve a rapprochement between hermeneutical and rational thought. Understanding oneself, through better understanding of the other, derives benefit from crossing disciplinary boundaries between, in this study, philosophy and the social sciences (education and psychology), in order to attempt to move from the particular, individual issues to the general, holistic view and return to one’s own situation to act for oneself and others. Ricoeur offers us the opportunity to repossess language, to be ethical and practical, and to challenge the hegemony of Explaining, going beyond method and methodology into epistemology and beyond fact into Understanding: an ontology of hope that makes sense of plurality, without the damage of relativism. This text attempts a narrative ethics, illustrating how Ricoeur’s work transformed my thinking from that of a method-bound psychologist to that of, perhaps, a philosopher in the making. Key Words: critical realism • hermeneutics • holism • Hollis • individualism • Norris • rational analytic • Ricoeur • self • text. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in which (...) I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

The article is devoted to the philosophical and cultural analysis of postmodern philosophy on the basis of the Hegelian methodology, Heidegger's philosophy of language, structural psychoanalysis, deconstructionism, hermeneutics, universal ethics and philosophy of dialogue. The article substantiates the thesis that postmodernism as a model of theoretical reflection is autonomous with regard to liberalism and relativism with the concept of a "French school", which has an anti-liberal orientation and corresponds to the conservative Christian attitudes imposed by implicit ontological meanings. The medieval (...) ontological "nuclei" of postmodernism are concepts: "Real" by J. Lacan, "Archepism" by J. Derrida, "Schizoid" by J. Deleuze, "language reconfiguration" by P. Ricker. Thus, freed from the stereotypes of relativity, postmodernism appears as a third alternative in opposition to the European choice between liberalism and radicalism. The double standard extends to the attitude of liberals to radical currents in crisis processes. Initially, liberal leaders take an overwhelming majority in right-wing nationalism, using it as a tool to support the status quo of capitalism, a means of distracting the masses from real problems, and a mechanism of intimidation. When the mass is intimidated enough, it is proposed to liberalism as "a source of defacing" as the "only alternative". We can talk about the artificial situation of identifying the choice of Fa versus Antifa for the subject who is forced to choose between "purse and life" - between multiculturalism and radical nationalism The key task of structural psychoanalysis is not only the returning of the conflict to its original place, that is, the disclosure of the deep-seated class traumas of the capitalist neoliberal world itself, according to S. Zizek and other representatives of the Slovenian school, but also - the separation of the philosophy of postmodernism as a spiritual phenomenon from political projects of neoliberalism and multiculturalism, which until recently were considered an applied dimension of postmodern politics and promoted the introduction into the social practice of the vicious circle "liberalism - nationalism liberalism" - a circle that does not provide choice and which excludes from its own semiosfery any other values: ethical and dialogical, modern, conservative, religious, international, non-system Left and others. In order to realize this task, postmodernism must be considered under the other viewpoint, depriving it of the stereotypes of "relativism", "cynicism" and "enlightenment", that is, it is necessary to demonstrate that the authentic core of postmodern philosophy is far from multicultural indifference of "post-truth" and includes expressive ontological motives. The double goal of our study: to carry out a critical rethinking of postmodernism as a form of manifestation of a conservative attitude based on hereditary archetypes of the Middle Ages and Modernism, and to show that postmodernism as a philosophy is not the cause of the tragic self-denial of postmodernism as an applied measurement of multiculturalism, that multiculturalism with its vicious circles of relativity, devastation and radicalism is separate from the phenomenon of postmodernism and belongs to the "shock" project of American liberal democracy, and not to "French school" Moreover, the School of Post-Structuralism of the Sorbonne, as the basis of postmodernism, is the descendant of the Marxist school of "new left" in Frankfurt and its meaning is fundamentally anti-capitalist and anti-liberal. By combining among themselves in a single interdisciplinary field the classical philosophy of M. Heidegger's language, J. G. Derrida's "grammar", G. Lacan's structural psychoanalysis, J. Habermas's universal ethics, J. de Gaulle's schizodiscourse, and hermeneutics and the philosophy of P. Ricker's dialogue, we have shown that In the semantic field of postmodernism there are ontological kernels of conservatism, which approximate this philosophical model to medieval traditionalist thought and make the border between modern and postmodern very conditional. The return of postmodernism to the status of the philosophy of being and the liberation of the French school from the stereotypes of "lack" and "loseness" is necessary in order to protect postmodernism from accusations of cynicism, relativism and "emptiness", since these allegations are, firstly, based on the mixing of postmodernism with liberal irony, and, secondly, often serve as an excuse for the revival of various kinds of fundamentalist aspirations. We have shown that liberalism, by provoking through the irony of the identification of the "illusion", initially contributes to the development of radical movements, and then, when they emerge from the symbolic control, they remove them from the agenda as "fascist", opposing them to themselves. There is a closed vicious circle of impossibility to choose between "Fa and Antifa". Our work was an attempt to remove postmodernism from this circle. (shrink)

This guide explains Derrida’s key concepts through examples from across the whole spectrum of the arts, looking at the work of architects such as Bernard ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (shrink)

In an attempt to go beyond persistent East-West colonialist/imperialist relations of dominance as part of globalization, emerging discourses relating to the concept of contemporaneity have sought to extend critical legitimacy to both an internationally dominant deconstructivist postcolonialism and to localized anti-imperialist assertions of national-cultural identity. Emerging discourses relating to the concept of contemporaneity can thus be understood to have entered into a problematic theoretical double-bind involving mutually resistant essentialist and anti-essentialist perspectives on the critical significance of cultural identity. In this (...) essay I shall argue, with specific reference to the theorization of contemporary Chinese art, that one possible way beyond this problematic theoretical double-bind is to develop a polylogue, exploring in close analytical detail potential areas of remotivational interaction as well as resistance between international deconstructivist postcolonialist and localized essentialist anti-imperialist theoretical perspectives; a strategy akin to Jacques Derrida’s radical collage-text Glas (1974), which has the potential to open up differing discursive positions to one another while internally dividing and questioning their individual authority. (shrink)

Wie namhafte Interpreten von Theodor W. Adornos Werk berichten, sollte die Negative Dialektik in eine »Theorie der geistigen Erfahrung« münden. David Jöckel unternimmt daher erstmalig einen Deutungsversuch dieses sperrigen Begriffs. Entlang der zentralen begrifflichen Dimensionen Zeitlichkeit, Imaginativität und Unbewusstheit zielt er nicht nur auf eine neuartige Lektüre dieses philosophischen Konzepts, sondern auch auf ihre fruchtbare Öffnung gegenüber den in Jacques Derridas Texten zentralen Figuren Iterabilität, Temporalisierung und Spektralität.