Resumé Presented thesis is dedicated to specific problems of van Gogh's art. In the first chapters I investigate Heidegger's philosophy of art and his philosophical interpretation of van Gogh's painting Old shoes. Second chapter is dedicated to the critical reaction of distinguished art-historian Meyer Schapiro. Schapiro wrote two short texts, where he attacked Heidegger's way of interpretation of the painting. But Schapiro did not take into account Heidegger's philosophical arguments and completely misunderstood Heidegger's essay. Third chapter is dedicated to the "conclusion" of the conflict of interpretations. In late seventies French philosopher Jacques Derrida published an article (Restitutions), which deals with previous contributions. Derrida seriously attempted to investigate philosophical principals of Heidegger and Schapiro and he suggested, that both authors have the same tendency to appropriate the shoes to some person, in Heidegger's case to peasant woman in that of Schapiro to van Gogh. Derrida tried to leave the "theory of appropriation" by saying that the shoes belong to the painting. I also added two appendices dedicated to specific problems of van Gogh's painting. In first appendix I investigated the role of synthesis of painting and drawing in van Gogh. In second appendix I trace the...

Informe de Seminario para optar al grado de Licenciado en Filosofía / Mediante la presente investigación se busca resignficar la ceguera en tanto se manifiesta como un elemento posibilitador para la apertura, espaciamiento o visibilización de un nuevo acontecimiento en el seno de la deconstrucción en Jacques Derrida. De este modo, la relación entre lo visible y lo invisible resulta un antecedente clave para el trazamiento de un nuevo término o invención en la base misma de las oposiciones binarias del pensamiento filosó- fico. Para esto, guiaré el análisis en torno a la genealogía del dibujo que el autor esboza en Mémoires d’aveugle. L’autoportrait et autres ruines (1990), y así, desde una analogía con el trazo, intentaré precisar la correspondencia que surge entre visión y ceguera, determinando su lugar y aplicación para la apertura crítica en una sociedad dominada por las lógicas del espectáculo y las normas basadas en ese régimen hegemónico.

The thesis explores the political dispositions lurking within the practices of vision, construed here in terms of the visible and invisible. It locates this investigation firstly, in the representational culture of colonial Singapore and secondly, in postcolonial Singaporean performances. Although the thesis takes as its point of departure conceptualizations of the practices of vision by Bhabha, Foucault, Lefebvre and Lacan, as the argument proceeds, the exploration takes its cue increasingly from the thought of Derrida. The chapters explore how the relationship to Otherness is variously effaced or enacted in practices of the visible and invisible. The thesis starts with an exploration of the practices of the visible in colonial power relations and postcolonial multiculturalism, construed here as a metaphysical sovereign political disposition, the predicates of which are the theological-political securing of the I Am Who I AM. Within this relationship to Otherness is a violent ethico-political relation to Otherness. However, in the thought of Derrida and Levinas, the relationship between 'us' and the 'Other' is the condition of possibility for both the Self and Other, for justice, responsibility, associated by an openness to the Other, including the willingness to be unsettled by the surprise of the Other-to-come. The second half of the thesis investigates the possibilities of a radical relation to the radically non-relational. Firstly, this radical relation to radical alterity is construed as encompassing a practice of the invisible, that of a poetics of the (im)possible. Secondly, this radical relation to Otherness is conceptualized as a 'writing in blindness', the counterpart of which is eschatological desire, accompanied by the 'art of the perhaps'.

This thesis brings together two important aspects of Feminist Theory, the problem of reconceptualising community in terms of difference, and the role of temporality and futurity within feminist visions of the political. I argue that rethinking community directly entails a rethinking of temporality. This is initially suggested in my examination of the work of anthropologists Carol Greenhouse and Johannes Fabian, who argue that conceptions of time play an important role in social methods of ??managing?? difference. I then turn to an analysis of a number of different feminist accounts of community in order to show that, in each case, the attempt to rethink community in terms of an openness to diversity is invariably accompanied by a contestation of dominant linear temporal concepts. I suggest that these accounts represent a shift to an understanding of time as fractured, dislocated or out of joint. While this shift is explicit in some of the work I examine, specifically in Linnell Secomb and Rosalyn Diprose??s work, for the most part, the problem of temporality is not explicitly thematised. I therefore seek to uncover an emerging critique of linear temporality within feminist accounts of community, while also arguing for a greater recognition of the way time systems shape the way we understand and relate to difference. In order to extend the contestation of linear temporality developed in the first section, I turn to the work of Jacques Derrida. I extend the gesture towards a dislocated time by examining Derrida??s deconstruction of Aristotle??s account of time and his quasi-concept, diff??rance. Both of these accounts challenge the self-presence of the now. What proves to be particularly important for the problem of community is the way this fundamental dislocation suggests a reworking of social understandings of the heritage, transformation and political action. This suggestion is developed through an analysis of two of Derrida??s later essays ??The Other Heading?? and ??Psyche: Inventions of the other??, where I draw out his claim that an openness to the coming of the other involves both the active disruption of convention and tradition as well as a passive relation to an open and incalculable future. I conclude this thesis by arguing that Derrida??s account of time, as a disruptive exposure to alterity, is a provocative candidate for a model of temporality congenial to feminist projects of reconceptualising community. Accordingly, this thesis makes a unique contribution to feminist theory by connecting two significant but often separate concerns, in the process providing new avenues for feminist theorisations of community.

This essay attempts to outline Jacques Derrida’s envisaged rewriting of transcendental aesthetics, hinted at in De la grammatologie. Focusing mainly on the texts published during the 1960’s (especially La voix et le phénomène) and the early 1970’s, I try to situate Derrida’s thought within the horizon of transcendental philosophy. Special attention is devoted to Immanuel Kant and Edmund Husserl given the importance that Derrida ascribes to them. My intention is to capture Derrida’s position towards these previous attempts of formulating a transcendental aesthetics. In Derrida’s view – the way I interpret it – transcendental aesthetics is a set of issues concerning (i) the philosophy of time and space and the constitution of time and space, (ii) a theory concerning the constitution of conditions (iii) a theory concerning the lowest level of cognition. I will try to support the claim that Derrida’s famous notion, la différance, entails a recasting of previous notions of transcendental aesthetics. Derrida is well known for his claim that experience is not direct; it must be given through re-presentations, which synthesize sense (ideal objects) and the sensed. Ideal objects are themselves dependent on language and hence experience cannot be brought about without the mediation of language. In this essay the claim that neither space nor time would be without the sign is substantiated. With this in mind I attempt to show that Derrida’s rewriting of transcendental aesthetics amounts to promoting the concept of spacing, which represents the-becoming-spaceof-time and the-becoming-time-of-space. Without the deferring and differing involved in the movement of la différance and the writing of the unconscious there would be neither time nor space. One of the most important outcomes of this essay is the presentation of the interplay between activity and passivity involved in the constitution of ideality performed by unconscious writing.

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Diss.--Düsseldorf--Univ., 1999. / Bibliogr. p. 201-231.

Texte remanié de: Diss.--Duquesne university. / Bibliogr. p. 181-186. Index.

Thèse--Faculté des lettres--Fribourg, Suisse--Université, 1993. / Bibliogr. p. 509-517.