Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

There is a close relationship between art and philosophy. From time to time, philosophy attempts to make art its theme. Invariably it has to acknowledge the very qualities of art that it seeks to explain - art’s elusiveness and its indeterminateness. On the other hand, it is the nature of art to philosophise within itself, about itself, and about the world. In this sense it operates as tacit philosophy. The language of art and the language of philosophy differ in form; but recent turns in philosophy have led to the expression of its truth in terms that transcend language and question its own epistemic structure. At the same time, art has always acknowledged its approach to ‘truth’ and ‘knowledge’ as being ‘other’ to that epistemology. This ‘otherness’ to traditional ways of knowing is recognised in philosophical discourse as ‘alterity’. The thesis posits that in art alterity has always been, and remains, tacit and integral to art’s being. Thus, by exploring the ways in which – through alterity – art and philosophy intersect and interweave, the thesis aims to reveal a new kind of knowledge that transcends the rational and the empirical but is nonetheless not only valid, but of the very highest integrity. That knowledge is transmitted through a particular critical and creative approach to philosophy and to art that opens the possibility of the ‘event’ of Alterity. The thesis uses a discourse of philosophy and critical theory to reveal Alterity in philosophy, principally through the work of Derrida, Heidegger, Adorno, and Levinas; Alterity in art through the works of Fra Angelico, Pollock, Fantin-Latour, Malevich, Vermeer, and Saitowitz; and Alterity in my own art practice through a set of six sculptures.

How should we understand the relations between human beings and technology? Where does technology end and where does the human being begin? How should we understand the relation between thinking and technology? These and related questions have been increasingly salient during the last decades. The aim of this study is to provide an outline of a philosophy of technology in the work of a major contemporary philosopher: Jacques Derrida.    The study is divided into seven chapters, each dealing thematically with a part of Derrida’s philosophy of technology. The opening chapter begins with an exposé of the way the question of technology has evolved historically. It argues that Derrida’s deconstructive thinking avoids many of the problems associated with earlier as well as contemporary approaches. The next chapter sketches the basic features of a coherent philosophy of technology, a deconstructive phenomenology of technology that enlarges the concept of technology to include the entire phenomenological field: technology is here not opposed to the psychical, it is rather a close relation between the psychical and the non-psychical, between life and death. Life is always already contaminated with technology. Chapter three explores in some detail Derrida’s thesis that contemporary life is contaminated by what he calls a “gigantic tele-technological machine” including the media, the Internet, mobile systems, digital archives, etc. As is discussed in the following chapter, this contamination also has consequences for our experience of time. More than ever before, time is today produced artificially by the tele-technological machine that transforms our temporal experience. Chapter five suggests that also the ethical dimension in Derrida’s thinking is closely linked to technology. The main part of the chapter is devoted to three technological events of historic proportions: the electronic revolution, the hypothesis of a total nuclear war, and global terrorism, all of which require an urgent ethical response beyond current politics. This ethico-political response is further elaborated in the subsequent chapter, dealing especially with Derrida’s radical thesis that the tele-technological machine will transform the concept of the political as we know it. According to this thesis, the ability of the new technologies to facilitate extremely rapid circulation of ideas, voices and images around the world will eventually erase the borders between nation states, a fact that will force us to think the political beyond politics. The final chapter on religion argues that Derrida’s provocative thoughts about the close link between religion and science, religion and technology, and religion and the media provide keys to a more comprehensive understanding of his thinking about the technical, if not of his thinking as a whole.

I den här uppsatsen ämnar jag att undersöka retoriken i ordet farmakon så som det behandlats av Jacques Derrida. Genom en nära läsning av Derridas texter identifieras farmakon först som ett ogripbart koncept och sedan som en typ av paradox. Funktionen av denna paradox beskrivs först ur en derrideansk kontext och senare i en mer klassisk retorisk sådan. I den här uppsatsen visas farmakon fungera som något som låter oss inse tänkandets gränser, samtidigt som vi ges en förklaring på vad som utgör dessa gränser. Farmakon visas också förlänas en större retorisk effekt på grund av Derridas dubbla läsning, medan retoriken i farmakon visas vara beroende av ett kunskapssökande hos publiken.

Made available in DSpace on 2015-04-14T13:55:21Z (GMT). No. of bitstreams: 1 454356.pdf: 2624723 bytes, checksum: 7fb4188229fd87478fc90d215439c0c3 (MD5) Previous issue date: 2013-12-18 / This thesis aims to read Derrida in a way to increase the speculative aspect of his thinking, in opposition with the dominant correlationist interpretation. The main keys for this reading are writing and diff?rance. For this task, I trace a polygonal articulation between Derrida, Quentin Meillassoux, Sigmund Freud and Catherine Malabou, trying to reconstruct the philosopher's positions in an affirmative way as materialism. The effect of this polyhedron works by contrasts, reflecting (as an inverted mirror) on other philosophers with whom Derrida debated all his life (especially Kant, Hegel, Levinas, Husserl and Heidegger). The figure is constructed in three moments: comparative, structural and experimental. The comparison emerges with a genealogy of Derrida's thinking departing from the French materialism of XXth Century, aiming to demonstrate that his thinking has never been oriented by the Kantian gaps between thing-in-itself and phenomenon, nature and culture, empirical and transcendental. It emerges in a specific philosophical, scientific, political and cultural context that is only now being reconstituted. Next step is the structural argument: departing from the critique of totality (Book), the thinking of writing appears as a graphematics that exceeds the traditional space where writing was enclosed, considering it as the facilitation (frayage) of form in the real, a non-hylomorphic (plastic) theory of form. To this graphematics is added spectrology (hauntology), virtual science that thinks reality in the general economy of diff?rance. From this general economy, restricted economies emerge: economimesis and economy of life_death. The graphems are inscribed in a surface without ground, empty and plastic, which Derrida nominates, remembering Plato, Khora. Finally, the third moment looks to relate experimentally Derrida's thinking with contemporary sciences (neuroscience and evolutionary biology), aiming to obliterate the boundaries between nature, culture and technology, on one side, and thinking and real, on the other. Writing and specters cross all these gaps in a generalized and hyper-historical materialism. / A tese procura ler a obra de Jacques Derrida para, opondo-se ? interpreta??o correlacionista predominante, potencializar o aspecto especulativo desse pensamento. As principais chaves de leitura s?o a escritura e a dyferen?a. Para tanto, tra?o uma articula??o poligonal entre Derrida, Quentin Meillassoux, Sigmund Freud e Catherine Malabou, buscando reconstruir as posi??es do fil?sofo de forma afirmativa enquanto um materialismo. O efeito desse poliedro funciona por contrastes, refletindo (como um espelho invertido) sobre outros pensadores com os quais Derrida debateu ao longo da sua vida (em especial Kant, Hegel, Levinas, Husserl e Heidegger). A figura ? constru?da em tr?s movimentos: comparativo, estrutural e experimental. A compara??o emerge a partir de uma genealogia do pensamento de Derrida a partir do que nomeio materialismo franc?s do s?culo XX, procurando demonstrar que esse pensamento nunca se orientou pelas cis?es kantianas entre coisa em si e fen?meno, natureza e humano, emp?rico e transcendental. Ele emerge em um espec?fico contexto fil?sofico, cient?fico, pol?tico e cultural que apenas recentemente vem sendo reconstitu?do. Tecido esse primeiro fio, passo ao argumento estrutural. A partir da cr?tica da ideia de totalidade (Livro), o pensamento da escritura aparece como grafem?tica que n?o se det?m no interior do espa?o no qual a escritura esteve confinada, pensando antes a escritura como forma sulcada do real, teoria n?o-hilem?rfica - pl?stica - da forma. A essa grafem?tica soma-se a espectrologia, ci?ncia do virtual que pensa o real no modo da economia geral da dyferen?a. Dessa economia geral inconsistente emergem economias restritas: econom?mesis e economia da vida_morte. Os grafemas inscrevem-se em uma superf?cie sem fundo, vazia e pl?stica, que Derrida nomeia, lembrando Plat?o, khora. Finalmente, o terceiro momento procura relacionar experimentalmente o pensamento de Derrida com as ci?ncias contempor?neas (neuroci?ncias e biologia evolucionista), almejando borrar as fronteiras entre natureza, cultura e tecnologia, de um lado, e pensamento e real, de outro. A escritura e os espectros atravessam todas essas cis?es em um materialismo generalizado e hiper-hist?rico.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-29T14:25:10Z No. of bitstreams: 1 TES_ESTEVAN_DE_NEGREIROS_KETZER_PARCIAL.pdf: 4368876 bytes, checksum: 178d340e8c705672039f8fb4f2e31f47 (MD5) / Made available in DSpace on 2017-06-29T14:25:10Z (GMT). No. of bitstreams: 1 TES_ESTEVAN_DE_NEGREIROS_KETZER_PARCIAL.pdf: 4368876 bytes, checksum: 178d340e8c705672039f8fb4f2e31f47 (MD5) Previous issue date: 2017-01-20 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This thesis is dedicated to a study on the possibility of a trauma theory in the Jacques Derrida?s thought with motivation referenced in the work of the Romanian poet German-speaking Paul Celan. Therefore, we have been thinking of three concerns derived from the idea of writing, trace and justice that permeate what we can identify here as the thought of difference (diff?rance). When we turn to the poetics of Paul Celan, we take into account the problem of aesthetic construction from the second half of the twentieth century, especially on the direct relationship which Paul Celan established with European philosophers such as T.W. Adorno, Martin Buber and Martin Heidegger. His discussion in the Western thought is going for the creation of a new aesthetic conception from the clash with avant-garde music. The discussion extends to the silence, its repercussions in extrapolating the field of phenomenology, addressing the historical dispositions that mark the two modalities of silence: one due to the helplessness from the victims and other from an embarrassment of those who lost the War. We also examine the widespread helplessness of Paul Celan?s poetic work, especially in the loss of the word as an object of meaning, and from now on rely on the perspective of a fragmented word. The idea of responsibility, in the Emmanuel Levinas? interpretation, leads us to the reflection of a support in the maternity as a necessary elaboration of the past and its impossibility imposed in the present time, taking us to the considerations of Jacques Derrida. Finally, we have ?Le Menhir?, the torment as we approach the graying stone, reinforcing the sense that its grayness color implies for the subjectivity. The trauma in Paul Celan here is seen with a perspective of future elaboration. / Cette th?se est consacr?e ? une ?tude de la possibilit? d'une th?orie du traumatisme ? la pens?e de Jacques Derrida avec la motivation a r?f?renc? ? l?oeuvre du po?te roumain germanophone Paul Celan. ? cette fin, ont ?t? d?riv?es trois pr?occupations de l?id?e d??criture, trace et la justice que nous pouvons ici identifier comme la pens?e de la diff?rence (diff?rance). Lorsque nous nous tournons vers la po?sie de Paul Celan, nous consid?rons le probl?me de la construction esth?tique de la seconde moiti? du XXe si?cle, en particulier dans la relation directe que Paul Celan ?tabli avec les philosophes europ?ens tels que T. W. Adorno, Martin Buber et Martin Heidegger. Sa discussion dans le pens?e occidentale vers ? un nouveau design esth?tique avec la musique d?avant-garde de l?affrontement. Le d?bat se prolonge au silence, ses r?percussions au extrapoler le domaine de la ph?nom?nologie, se dirigeant pour les r?gles historiques qui marquent les deux modalit?s du silence: l?une en raison de l?impuissance des victimes et une autre r?sultant d'un embarras des ceux qui ont perdu la guerre. Nous examinons aussi l?impuissance ?tendue dans toute l?oeuvre po?tique de Paul Celan, en particulier la perte du mot comme un objet signification, devrait d?sormais compter sur la perspective du mot fragment?e. L?id?e de responsabilit? dans l?interpr?tation de Emmanuel Levinas nous conduit ? la r?flexion d?un soutien dans la maternit?, l??laboration n?cessaire du pass? et de leur incapacit? impos?e ? l?heure actuelle, nous prendre ? des consid?rations Jacques Derrida. Enfin, nous avons ? Le Menhir ? l'?preuve que nous approchons de cette pierre, renforce le sentiment que sa couleur gris implique ? la subjectivit?. Le traumatisme dans Paul Celan ici est vu dans une perspective de d?veloppement futur. / Esta tese ? dedicada a um estudo sobre a possibilidade de uma teoria do trauma no pensamento de Jacques Derrida com motiva??o referenciada no trabalho do poeta romeno de l?ngua alem? Paul Celan. Para tanto, foram pensadas tr?s inquieta??es derivadas da ideia de escrita, rastro e justi?a que permeiam aquilo que aqui podemos identificar como o pensamento da diferen?a (diff?rance). Ao nos voltarmos para a po?tica de Paul Celan, temos em conta o problema da constru??o est?tica a partir da segunda metade do s?culo XX, principalmente na rela??o direta que Paul Celan estabeleceu com os fil?sofos europeus como T.W. Adorno, Martin Buber e Martin Heidegger. Sua discuss?o no pensamento ocidental se dirige para a cria??o de uma nova concep??o est?tica a partir do embate com a m?sica de vanguarda. O debate se estende at? o sil?ncio, suas repercuss?es ao extrapolar o campo da fenomenologia, dirigindo-se para as disposi??es hist?ricas que marcam as duas modalidades de sil?ncio: uma devido ao desamparo das v?timas e outra decorrente de um constrangimento dos que perderam a Guerra. Examinamos tamb?m o desamparo estendido por toda a obra po?tica de Paul Celan, especialmente na perda da palavra como objeto de significa??o, devendo a partir de agora apoiar-se na perspectiva de palavra fragmentada. O exame da ideia de responsabilidade, na interpreta??o de Emmanuel Levinas, nos conduz at? a reflex?o de um apoio na maternidade como necess?ria elabora??o do passado e sua impossibilidade imposta no tempo presente, levando-nos ?s considera??es de Jacques Derrida. Por fim, temos ?Le Menhir?, o supl?cio ao nos aproximarmos da pedra, refor?ando a sensa??o de que sua cor cinza implica ? subjetividade. O trauma em Paul Celan, aqui, ? visto com uma perspectiva de elabora??o futura.

Made available in DSpace on 2015-03-04T21:02:08Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Nenhuma / Neste estudo o que se pretende analisar são as possibilidades de debate acerca da condição animal a partir das reflexões levadas a efeito por Jacques Derrida. O texto é desenvolvido em cinco etapas. A primeira, dedicada à exposição da tese heideggeriana o animal é pobre de mundo – oportuna para a compreensão das reflexões posteriormente desenvolvidas por Derrida; a segunda, dedicada à apresentação, ainda ampla e genérica, da forma como Derrida desenvolveu suas reflexões a respeito da condição animal; na terceira, na quarta e na quinta etapas, assentadas já, nas duas anteriores, as bases para que se possa compreender, adequadamente, o pensamento de Derrida a respeito do tema, a condição animal é apresentada, respectivamente, à luz dos seguintes enfoques: o sujeito e o cálculo do sujeito, a amizade e as políticas de amizade, a justiça e a hospitalidade. Os trabalhos de Derrida de presença mais marcante neste estudo são: O animal que logo sou, E digo que o animal respondeu?, conferências proferidas no colóquio r / This work intents to analyse issues of discussion concerning to the animal condition, considering reflections brought to the light by Jacques Derrida. The text is developed in five steps. The first one is dedicated to the exposition of the heideggerian thesis animal is poor of world – that fits to the context in terms of comprehending reflections developed later by Derrida; the second one deals with the presentation, in a wide and generic way, the form as Derrida developed his reflections concerning to the animal condition. In the third, fourth and in the fifth, these supported in the preceeding ones, is gave some bases to comprehend correctly and in a large scale Derrida’s thought in relation to the theme. Animal condition is showed by the light of the following focuses, respectively: the subject and the calculation of the subject, friendship and the policies of friendship, justice and hospitality. The Derrida’s works that have a very remarkable presence in this study are: The Animal That Therefore I am, And

Submitted by William Justo Figueiro (williamjf) on 2015-07-02T23:56:28Z No. of bitstreams: 1 21.pdf: 1506795 bytes, checksum: c58347339bf9e62bad0d6c4e34a107a2 (MD5) / Made available in DSpace on 2015-07-02T23:56:28Z (GMT). No. of bitstreams: 1 21.pdf: 1506795 bytes, checksum: c58347339bf9e62bad0d6c4e34a107a2 (MD5) Previous issue date: 2012 / Nenhuma / A partir do legado filosófico de Søren Kierkegaard e de Jacques Derrida, busca-se no presente trabalho examinar as possíveis perspectivas de discussão que, com eles e a partir deles, podem ser conferidas à questão da justiça. Neste desiderato, inicialmente são trazidos à análise alguns dos principais temas por eles explorados, tais como angústia, repetição, instante, decisão e fé, em relação a Kierkegaard, e différance, dom, responsabilidade e segredo, em relação a Derrida. Paralelamente ao desenvolvimento destes temas, são eles relacionados, entre si e também na forma como eles se entrecruzam nas reflexões de Kierkegaard e de Derrida, bem como com as reflexões de outros filósofos, tais como Lévinas, Heidegger, Hegel, Montaigne, Pascal e Rousseau. Uma vez desenvolvidos estes entrecruzamentos e assentados, então, os balizadores entendidos necessários, apontam-se as possibilidades que, tanto em Kierkegaard, quanto em Derrida, anunciam-se como suficientemente coerentes para o endereçamento de uma discussão profícua da questão da justiça, ou, como se anuncia no título, da justiça da justiça. / This work deals with the legacy of Søren Kierkegaard and Jacques Derrida. Our search is in the sense of examining possible perspectives of discussion in the thought of these two authors concerning to justice. In this desideratum initially, are analyzed some of the main themes approached by Kierkegaard and Derrida such as, anguish, repetition, instant, decision and faith, and also différance, gift, responsibility and secret, specifically concerning to Derrida’s thought. In parallel to the development of this themes, they are connected in their content and also in the way that they cross themselves. Besides, they admit the contact with reflections of other philosophers like Lévinas, Heidegger, Hegel, Montaigne, Pascal and Rousseau. After the development of this discussions, possibilities are showed as coherent enough in Kierkegaard and Derrida which are really appropriated for approaching a discussion about Justice or, as it is announced in the title, about the justice of justice.

Made available in DSpace on 2016-04-27T17:27:20Z (GMT). No. of bitstreams: 1 Maria Luci Buff Migliori.pdf: 2095464 bytes, checksum: 395e3de80b3f5c2f867335ee7f3f4baa (MD5) Previous issue date: 2007-12-05 / This workpiece develops a cartography of forgiveness dimensions, encompassing the branches of law, ethic, politics, Christian theology and therapy. It takes profit of Paul Ricoeur s and Jacques Derrida s readings. Forgiveness place is a border place that communicates with a variety of domains. Its discussion involves that of guiltiness and reconciliation with past. The thesis intends to analyze the ethical inscription of forgiveness in philosophy, appointing that this issue requires an incursion in the nonphilosophic field. It adopts as a model the work of the Truth and Reconciliation Commission in South Africa, an experience of reconciliation through a conditional amnesty and a new model of restorative Justice. Some applications of forgiveness spirit in law highlight obligation and responsibility relations, supported by the concept of debt and equivalence applied by Justice. They bring the context of the initial debate about crimes against humanity, after the Second World War, and its relations to the Statement of Rights. According to Ricoeur s view, forgiveness inscription lies in the abundance of non-realized evil. Ricoeur s difficult forgiveness equation reveals the dynamics emerging from the disproportion between the height of learned hymn and guiltiness depth, its imputability and the problematic of incapability. Derrida s reflection about the forgiveness and the unforgivable, in the geopolitical scene, explores the ideas of conditional forgiveness, pure forgiveness and circulation between hyperbolical ethic and politics. The public debate upon the interpretation and reach of Amnesty Law in 1979, promulgated under military dictatorship in Brazil, is an opportunity to appreciate the abuse of forgetter and the need of not erasing the facts, even though debt has been broken up / A cartografia de algumas dimensões do perdão no campo jurídico, ético, político, teológico-cristão e terapêutico é desenvolvida neste trabalho, partindo das leituras de Paul Ricoeur e Jacques Derrida, e valendo-se da contribuição essencial de Hannah Arendt para o tema do perdão na política. O lugar do perdão é um lugar de fronteira que se comunica com domínios limítrofes diversos. Sua ampla problemática envolve a da culpabilidade e a da reconciliação com o passado. A tese procura indagar a forma de inscrição ética do perdão na filosofia, mostrando que esta questão demanda a incursão no não-filosófico. Adota como modelo de estudo o trabalho da Comissão de Verdade e Justiça CVR - da África do Sul, instalada por ocasião da ruptura com o regime do apartheid (1995), um momento filosófico privilegiado, que reúne as diferentes perspectivas mencionadas e, assim, a possibilidade de reflexão sobre o perdão, em uma experiência de reconciliação, por meio de uma anistia condicional e um novo paradigma de justiça, o da justiça restaurativa. Uma pequena geografia das aplicações do espírito do perdão na lei aponta relações de obrigação e responsabilidade, tendo como fio condutor o conceito de dívida e uma lógica de equivalência aplicada pela justiça. Coloca o contexto de surgimento da discussão dos crimes contra a humanidade, após a Segunda Guerra, e suas relações com a Declaração de Direitos de 1948. A inscrição do perdão, numa economia de dádiva ou dom, é traçada ante a superabundância de não-sentidos do mal, na leitura de Ricoeur. A economia da redenção é introduzida no plano simbólico e teológico cristão. A equação do perdão difícil, traçada por Ricoeur, revela a dessimetria decorrente da desproporção entre a altura do hino sapiencial e a profundidade da culpa, sua imputabilidade e a problemática da incapacidade e sua superação. A pesquisa do dar e retribuir envolve a revisitação do modelo arcaico e aspectos cerimoniais do dom e do reconhecimento. A reflexão de Derrida sobre o perdão e o imperdoável na cena geopolítica explora as noções de perdão condicional e perdão puro e a circulação entre ética hiperbólica e política. A discussão pública a respeito da interpretação e alcance da Lei de Anistia, promulgada durante a ditadura militar brasileira em 1979, é oportunidade para uma apreciação a respeito dos abusos do esquecimento e a necessidade de não apagamento dos fatos, mesmo que a dívida tenha sido quebrada

Marcella Althaus-Reid was a theologian who dared to imagine differently, a thinker whose inventive style brought striking originality to her writings on sexuality and gender, people and God. Her work is remembered most noticeably in theological academia for her conceptual phrase, ‘Indecent Theology’. In this thesis about questions of God, the innovative elements of Marcella’s literary corpus are developed in new ways by placing her academic theories alongside a practical research study undertaken in the alternative milieu of Church of Scotland congregations in Edinburgh. This primary material, which has been analysed through interview and focus group transcripts, together with questionnaire responses, brings revealing insights to frame the emerging tensions between churchgoers and Marcella across the dimensions of its four chapters. In each, the following themes are developed: the ambiguities surrounding questions of asking who God might be; the considerations involved in recognising God’s relationship with the Bible; the exploration of the extent to which sexuality and gender may influence God concepts; and the recognition of the role people play in evaluating their understandings of God in Christianity. Arranged in a rhythmical structure throughout, every chapter is first prefaced by a media-based report which contextualises relevant themes in a contemporary idiom, and is later concluded by a deconstructive postscript that, in fragmentary ways, invokes some critical concepts in the work of Jacques Derrida germane to the particular questions of God pursued in each.