By framing his deconstruction of Plato’s Phaedrus and Timaeus as a response to Platonism, Jacques Derrida overlooks the possibility of a Platonic philosophy beyond dogma and doctrine. This thesis argues that Derrida’s deconstructions target a particularly Platonist abstraction of the dialogues, and thus, his critique relies on the underlying assumption that Plato defends the metaphysics of presence. Derrida attempts to show how the thesis that Being is presence undermines itself in both dialogues through hints of différance like pharmakon and khôra. To answer the Derridean critique, I analyze the hermeneutics of Derrida’s deconstruction of Plato and identify what in the dialogues lies beyond the limits Derrida’s reading, for example Derrida’s notable exclusion of ἔρως.

L'enseignement de la philosophie, dans les lycées chiliens et français a su défendre sa place au sein de l'enseignement secondaire malgré l'intervention des politiques libérales et néolibérales qui ont envahi l'éducation. Cela a été un succès, mais la question devient: quelle philosophie a-t-on voulu défendre? Pourquoi faire? Ce sont aussi ces questions que s'est posé Jacques Derrida dans les années soixante-dix aux fin de mettre en pratique et systématiser le travail théorique qu'il avait fait à partir de la publication de: De la Grammatologie en 1967. Dans cette recherche nous essayerons de répondre à ces questions à partir du travail réalisé par Derrida dans les années 1967 et 1978. Nous considérons que cette période  propédeutique  nous permet de démontrer que la déconstruction aurait comme base stratégique l'enseignement philosophique. C'est à partir de cette prémisse que nous espérons pouvoir établir quelques idées régulatrices déconstructives qui justifient la présence de la philosophie dans le secondaire. Elles seraient nécessaires et fondamentales pour construire un cadre philosophique référentiel et de cette façon, créer des stratégies d'enseignement propres aux conditions historiques, géographiques et culturelles des jeunes. Ces fondements seraient la base principale de la possibilité de déconstruction – la lutte et la résistance – de l'institution de la philosophie. / Although secundary education, both Chilean and French education, has not been unaware to the risk that philosophy has run with the intervention of the liberal and neoliberal policies in education, the multiple edges that build its institutional framework have been able to defend and, therefore, maintain the teaching to adolescents. This has certainly been an achievement, but, what philosofy has defended itself? For what? These interrogatives are also some of which Jaques Derrida contemplated in the seventies, with the idea of putting into practice and systematize the theoretical work that he had been doing since the publication of Of Grammatology in 1967.In this research, we attempt to answer these interrogatives from Derrida’s work, done between 1967 and 1968. We consider that this period – which is institutive– allows us to demonstrate that deconstruction would have the philosophical basis as strategic teaching. From the deconstructive premise, we intend to establish certain guidelines to justify the presence of philosophy in high school, needed to generate a referential philosophical framework and create future strategies of teaching philosophy, distinctive of historical, geographical and cultural conditions of the adolescents and which are the fundamental basis of the possibility of deconstruction -resistance and struggle- of the philosophical institution. / A pesar que la enseñanza secundaria, tanto la chilena como la francesa, no ha estado ajena al riesgo que ha corrido la filosofía con la intervención de políticas liberales y neoliberales en la educación, las múltiples aristas que constituyen su entramado institucional, han sabido defender y, por lo tanto, mantener la enseñanza de la filosofía para los jóvenes. Sin duda que esto ha sido un logro, pero ¿qué filosofía se ha defendido? ¿Para qué? Estas preguntas son también algunas de las cuales se planteó Jacques Derrida en los años setenta con la idea de poner en práctica y de sistematizar el trabajo teórico que venía haciendo desde la publicación de De la gramatología en 1967. En esta investigación intentamos responder estas interrogantes a partir del trabajo realizado por Derrida entre los años 1967 y 1978. Consideramos queeste período −que es instituyente− nos permite demostrar que la deconstrucción tendría como base estratégica la enseñanza filosófica. A partir de esta premisa pretendemos establecer ciertos lineamientos deconstructivos que justifiquen la presencia de la filosofía en secundaria, necesarios para generar un marco filosófico referencial y para crear futuras estrategias de enseñanza de la filosofía que sean propias a las condiciones históricas, geográficas y culturalesde los jóvenes, base fundamental de la posibilidad de deconstrucción −resistencia y lucha− de la institución filosófica.

Poner en relación la literatura y la responsabilidad es un gesto que no carece de dificultades, puesto que dicha relación ha sido objeto de amplios y diversos esfuerzos teóricos dentro de la tradición de la filosofía occidental, por lo que esta relación supone pensar también otra problemática compleja: la vinculación existente entre dos disciplinas, pensamientos o modos de escritura. En efecto, ¿qué tipo de relación existe entre filosofía y literatura? Ciertamente ambas son disciplinas escritas, con una tradición propia, con obras y autores clásicos, con giros y tendencias que han marcado la construcción de sus historias, pero también algo las distingue: quizás un(os) objeto(s), un(os) modo(s) de escritura, una relación particular con el lenguaje e incluso, podríamos decir, unas formas de aproximación a la “realidad”. Pero allí están también una muy cerca de la otra, colindando, haciendo cada una también el papel de frontera. Sería preciso también preguntarse si esa relación tiene un modo único, o ¿deberíamos hablar de diversas relaciones entre filosofía y literatura? En el marco de un seminario sobre filosofía y literatura, Alain Badiou ha planteado que no se trata de una relación única, sino de diversos modos de vincularse. Él ha propuesto, por lo menos, tres orientaciones posibles frente a esta relación. La primera de ellas la nombra orientación estética, donde la literatura vendría a ser un objeto de examen para un estudio filosófico desde el cual se intenta deducir categorías, conceptos estéticos que permitan la comprensión del fenómeno literario (en esta orientación se encontrarían Platón, Aristóteles y el mismo Badiou al hacer referencia a su trabajo sobre Beckett). La segunda la denomina orientación genealógica (o la literatura como genealogía de la filosofía), ésta se preguntaría cuál es la acción de la literatura sobre la filosofía, o cuál es, en definitiva, su acción sobre el pensamiento; por lo cual la literatura no sería ya un objeto de examen sino, plantea Badiou, una especie de condición de la filosofía. Las obras de Nietzsche, Heidegger, y nuevamente el propio estudio de Badiou sobre Mallarmé constituirían algunos ejemplos de este tipo de relación. La tercera y última orientación propuesta sería la inclusiva, en donde la filosofía es en sí misma una parte de la literatura, desde el momento en que ella es también una disciplina escrita. Badiou encuentra esta orientación en la obra de Kierkegaard, en la medida en que el relato biográfico forma parte de la argumentación filosófica y, en efecto, podríamos recordar las primeras páginas de Temor y Temblor en donde se alude implícitamente al compromiso de matrimonio roto entre Kierkegaard y Regina Olsen o, a continuación de esas primeras páginas, en “Proemio”, en donde se lee un relato con los mismos tintes biográficos para luego dar paso a las cuatro versiones o movimientos sobre el relato bíblico del sacrificio de Isaac que abren Temor y Temblor a partir también de una especie de escritura literaria. Es preciso señalar, me parece, que esta última orientación no deja de ser a lo menos controvertida para la Filosofía misma, en cuanto disciplina, al poner en cuestión el viejo tópico de la Filosofía como madre de las humanidades y, llevando el argumento a un punto más radical, al cuestionar la oposición tradicional entre verdad y ficción, oposición binaria desde la cual la filosofía ha operado, dejando lo simulado o lo aparente a la literatura (o la poesía). Ahora bien, estas tres formas de vincular filosofía y literatura, estas posibles relaciones (en plural), pueden ser encontradas a la vez en la escritura de un mismo autor, tal como sucede al ponerse el mismo Badiou como ejemplo en relación a sus trabajos sobre Beckett y Mallarmé.

Multiplicity is a key challenge and opportunity of world politics, yet scholars continue to struggle to do it justice. One way of reducing the challenge multiple times and spaces present us with has been to organise them allochronically, to align spatial difference in temporal sequence. The effect is a story where others are not different, they are just behind. Scholars have criticised this thinking as it appears in “Western thought”. In recent years, suggestions have emerged that Chinese thought may offer an alternative that escapes allochronic thinking, most notably through the foreign policy-driven concept “harmonious world”. Scholars have studied this term with the aim of finding out its true meaning. This thesis asks instead what “harmony” – and more specifically “harmonious world” – does when it is deployed in contemporary China. It traces the concept across several contexts: the policy documents and speeches that launched it as an official term; the academic literatures that asked what a harmonious world might look like; the propaganda at Expo 2010 Shanghai China that aimed to illustrate it; and the online spoofing culture egao that was used to criticise, resist and avoid “harmonisation”.The key claim of this thesis is that “harmonious world”, as articulated in the contexts examined here, has not taken place, is not taking place and will not take place. Ways of thinking about time, space and multiplicity in China’s relation to the world, and particularly “harmonious world”, repeat the allochronising logic recognisable from “Western” discourses, which disallows the openness of the future and reduces the possibilities of harmony and of the political. As an effect of its excessive proliferation harmony disappears as an imagined metaphysical possibility . The harmonious system is not based on co-operation or non co-operation, but works according to what this thesis calls an onco-operative logic: the quasi-suicidal logic of cancer and the (auto)immune. Ultimately, the aim and most important contribution of this thesis is to bring the onco-operative uncertainty of the political back into the harmonious world concept in order to elucidate the negotiation of danger and necessity of multiplicity.

Orientador: Mário Luiz Frungillo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T18:10:27Z (GMT). No. of bitstreams: 1 Barbosa_RoselideFatimaDiasAlmeida_D.pdf: 4105305 bytes, checksum: bd5c0560a8d3dcc9c2ecbb8af8376434 (MD5) Previous issue date: 2011 / Resumo: Partindo de um breve percurso histórico da relação entre poesia e pintura, prefigurada pela expressão de Horácio ut pictura poesis, este trabalho visa fazer um estudo sobre os textos em torno da pintura na obra de Francis Ponge. Escolhi esse poeta francês porque durante sua vida se relacionou e escreveu sobre artistas plásticos. A intenção foi estudar quais os recursos e marcadores textuais nos textos de Ponge revelam elementos pictóricos no campo lexical (palavras e expressões específicas), no campo gráfico (escolhas tipográficas), no campo onomástico (nomes de quadros, de artistas), nos procedimentos da escrita, em suma, de que forma isso se constrói literariamente no lápis de Ponge. Nossa hipótese é a de que Ponge se coloca como pintor, tenta observar e sentir como um pintor para escrever seus textos. De sua paleta de palavras saem todas as nuances da natureza. Para mostrar como esse no-lugar-do-pintor/escultor se dá em Ponge, apontamos semelhanças no olhar e no modo de trabalho em vários temas, como no excepcional exemplo de La Mounine, que se apresenta como mímesis de trabalho impressionista pelo olhar e escolha lexical. As análises, em seu conjunto, revelam que Ponge é mais que espectador do mundo das artes plásticas, ele é artista plástico que se faz escritor / Abstract: This thesis starts from a historical sketch of the inter-relation between painting and writing outlined by Horatio?s expression ut pictura poesis. Its main goal is to study Francis Ponge?s texts on Art because this French poet had a life-long relationship with plastic artists, witnessed in his work. Our intention is to present Ponge?s textual resources which reveal pictorial marks in the lexical domain (words and expressions), in the orthographical domain (typographic choices), in the onomastic domain (pictures? titles, artists names), as well as in the writing techniques used. To sum up, how the Plastic Arts are worked out by his pencil. Our hypothesis is centered in the idea that Ponge sees himself as a painter. In the idea that he tries to observe and apprehend the world as a painter before the texts he writes. From his palette of words all Nature?s details come out. To show how this in-the-place-of-a-painter takes place in Ponge, we show similarities of sight and in the way the work is done in several themes shared by the artists and Ponge. La Mounine is an exquisite example of this, which stands for a mimesis of an impressionist work, given the lexical choices and the way the author observes the landscape. All the analyses presented reveal that Ponge is more than an eyewitness in the Arts? world; he is a plastic artist who became a writer / Doutorado / Literatura Geral e Comparada / Doutor em Teoria e História Literária

Dans ce mémoire, nous proposons d’observer la réception de l’ouvrage Force de loi – le « fondement mystique de l’autorité », du philosophe Jacques Derrida, dans la pensée juridique nord-américaine. Dans un premier temps, nous nous attardons au contexte de production de cet ouvrage et en proposons une analyse détaillée. Nous tentons également de définir sommairement les concepts clés de la pensée derridienne mobilisés dans Force de loi, principalement la déconstruction, laquelle a suscité l’intérêt des juristes. Dans un second temps, nous proposons de retracer la trajectoire de Jacques Derrida en Amérique du Nord, sachant que sa pensée y a été reçue selon des termes bien précis, qui ont influencé l’inscription de ses travaux dans la pensée juridique. Dans un troisième temps, nous proposons de poser un regard critique sur la réception de la déconstruction derridienne dans les Critical Legal Studies. Nous soutenons que la pensée derridienne a été mobilisée par les critical legal scholars avant tout comme une technique servant à alimenter leur critique politique du droit. Or cet usage technicien de la déconstruction se serait fait au détriment de sa véritable substance éthico-politique. Nous proposons donc finalement de réfléchir à ce qui pourrait constituer un usage de la déconstruction en droit qui permettrait d’actualiser son plein potentiel critique, en conviant les juristes à élargir le champ épistémologique de leur discipline. / This essay considers the reception and interpretation of Jacques Derrida’s Force de loi – le « fondement mystique de l’autorité » in North American legal theory. In the first chapter, we examine the context in which Force de loi was written and pronounced, provide definitions of the key Derridean concepts mobilized in Force de loi and offer a detailed analysis of the text. In the second chapter, we argue that Jacque Derrida’s work was read and interpreted by American and English-speaking scholars in a very specific way, which shaped its reception in legal thinking. In the third chapter, we look at how Force de loi and “la deconstruction” were mobilized in the Critical Legal Studies. We argue that the critical legal scholars coined a “technical” use of deconstruction that did not fully integrate its ethical and political potential. Finally, we reflect on how deconstruction could be mobilized by legal scholars and jurists to open epistemological and political horizons that Derrida himself had not envisioned.

Thesis advisor: Andrew Prevot / Decisions: Political Theology and the Challenges of Postmodernity, argues that political theologies are both partially responsible for and responsive to the intrinsically related problems of racism, capitalism, and essentialist metaphysical thinking. Relying on dialectical materialist and post-structuralist theories, Decisions critically engages a wide range of classical and contemporary figures such as Karl Marx, Søren Kierkegaard, Carl Schmitt, Jacques Derrida, James Cone, Chantal Mouffe, Cornel West, Martin Hågglund, and Karl ove Knausgaard. These engagements are attentive to not only the particular theoretical and political decisions any one thinker makes, but also to the ways in which “decision” is itself understood as an important theoretical and political category. Although “decisionism” has become a popular motif in contemporary political theology, the concept remains under theorized. This is unfortunate, because contemporary ontological racisms and exploitative market structures aim to prevent political decisions: ontological racism decides in advance the essential “racial” characteristics of a person and market economies ensure that the distribution of goods is “decided” by the so- called invisible hand of the market. Moreover, both racisms and capitalism can imply an underlying modern metaphysics of substance and essence. While the postmodern critique of metaphysics is often read as a challenge to religion, this reading suggests that postmodernity presents an opportunity for the reemergence of an historical and politically engaged form of religion. Such an emancipatory and non-metaphysical approach can be found throughout various religious traditions, but is especially prominent amongst black political theologians working out of the Christian tradition. / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

This paper aims to investigate the possible connection between specters and silence in Graham Swift’s Tomorrow (2007) and Mothering Sunday (2016). In both novels, the protagonists predominantly speak in interior monologues, recounting the memories and secrets that haunt them, in what could be construed as an attempt to exorcise the ghosts of their past. The paper’s understanding of specters is based on Jacques Derrida’s Specters of Marx (1993), and the idea that specters - as figures that exist in states of in-between - disrupt not only temporality, but what we know to be true. Much like specters, the protagonists vacillate between states, neither speaking nor remaining silent, as they address absent or imagined listeners. This undecidability leaves one to wonder if their ghosts are - or ever can be - truly exorcised.

The reception of deconstruction in recent art historiography The aim of the presented master thesis is to outline the reception of deconstruction in the contemporary art historiography and the introduction of its effects on the discipline of art history. The work deals with the term deconstruction in the sense of (1) the original philisophical and critical writing of Jacques Derrida, and (2) the method, which was implemented to literary studies at the end of the 70s and later on to other humanities, including the art history. First, theoretical part of the thesis introduces Derrida's thoughts, epistemology and the strategy of deconstruction. Second part reflects the epistemological changes a implementation of the deconstructive criticism into the art history. After imbedding the "deconstructive" current into the broader development of art history and reading of some methodological handbooks, we turn to concrete works of some art historians and their individual uses of the deconstructive implulses, namely Donald Preziosi, Norman Bryson, Michael Ann Holly, Keith Moxey, and to a lesser extend also W. J. T. Mitchell, Craig Owens, Rosalind Krauss, Stephen Melville, Donald Crimp, David Carrier and Victor Burgin. As opposed to the original derridian deconstruction, in its aplied form (art history,...

This dissertation critically examines the ontological and epistemological significance of the concept of violence in French philosopher Jacques Derrida’s essay “Violence and Metaphysics” (Chapter 1), dialogues between Mennonite philosophical theologians who represent the Radical Reformation and John Milbank’s Radical Orthodoxy (Chapter 2), and the Death and the Displacement of Beauty trilogy by feminist philosopher of religion Grace Jantzen (Chapter 3). Although Derrida, Jantzen, and certain Mennonite philosophical theologians approach the problem of violence with very different concerns and frames of reference, each understand violence to have a distinctly ontological and epistemological character, while also suggesting that ontology and epistemology themselves are profoundly vulnerable to charges of violence. In Derrida’s essay “Violence and Metaphysics” language itself is imbricated in violence, and in their responses to John Milbank, Mennonite philosophical theologians Peter C. Blum and Chris K. Huebner situate their work both with and against Derrida’s supposed “ontology of violence” as they apply Christian pacifism to epistemology and seek to articulate an “ontology of peace.” In her late work in the Death and the Displacement of Beauty project, Grace Jantzen develops an epistemology that is similar to that of Blum and Huebner, while critiquing what she understands to be Derrida’s equivocation of linguistic with physical violence, all as part of her argument that the cultural habitus of the west is founded on an obsession with death that violently displaces natality with mortality. In bringing together these three sources, this dissertation uses “violence” as a diagnostic concept to assess the priorities and values of its users. Considering violence to be defined by the violation of value-laden boundaries, this study of three ontologies of violence interprets and critiques the values that Derrida’s deconstruction, philosophical Mennonite pacifism, and Jantzen’s critique of displacement seek to further and protect against violation. / Dissertation / Doctor of Philosophy (PhD) / This dissertation examines the early work of French philosopher Jacques Derrida (Chapter 1), debates between Mennonite philosophical theologians and John Milbank’s Radical Orthodoxy (Chapter 2), and the Death and the Displacement of Beauty trilogy by feminist philosopher of religion Grace M. Jantzen (Chapter 3). For Derrida, Jantzen, and certain Mennonite philosophical theologians the term “violence” is used to name ways of thinking, knowing, and speaking, rather than being restricted to the sphere of physical violations. This dissertation shows how these three sources each consider violence to be something that can inhere in ways of thinking about the world and our relation to it.