This thesis is centrally concerned with the texts of Jacques Derrida that have addressed directly the theme of sexual difference. Yet to say the thesis is centrally concerned with a philosophy that positions itself clearly as one that deconstructs centrality and its trajectory of return, is to face the crisis or chiasmus of my concern. The thesis is not returned to Derrida. If the question of feminism for Derrida is a question from the margins, from interruptions, of the trace and of la cendre, ashes, the question of sexual difference is primordially and originarily that of the undecidability of the name, signatory, and textual border. She would not have appeared here. Therefore she cannot return. There are two frames to this research that can be recognized in the chapter sequence of the thesis. Initially I develop a preparatory engagement to a questioning of the ontology of sexual difference, with Chapters 2 and 3, with a questioning that broaches the metaphysics of the feminine with respect to the texts of Derrida, Heidegger and Cixous in particular and further engages with Écriture Féminine, Levinas and feminist responses to Heidegger and Levinas. However, this broader questioning is undertaken in order to develop a sharper focus on the writings of Derrida that address Heidegger’s ontological difference, Levinas’s ethics before being, and a more originary questioning of sexual difference. The second frame and predominant focus of the thesis is on Derrida’s approach to the metaphysics of the feminine with four pivotal texts by Derrida from the late 1970s and early 1980s examined in Chapters 4 to 7. Each addresses a questioning of difference and the metaphysical tradition, under difference’s many names: ontological difference, sexual difference, différance, and engages deconstruction’s encounters with Nietzsche & Heidegger (Spurs); the psychoanalysts Abraham & Torok (“Fors”); Levinas (“At This Very Moment in This Work Here I Am”) and Hegel (Glas). In bringing together these four texts, my aim is to emphasize the significance of a double deconstructive movement of transgression and restoration, as this research’s politico-ethical acts of writing and reading for an otherwise discourse on sexual difference. This otherwise discourse has always already been produced with phallogocentrism and remains critical for the inventing of thresholds across philosophy, literature and their others. The ashen Preface enkindles a paradigmatic figure as deconstructive trace of sexual difference in writing and reading practices. A Postscript questions the binding to institutional laws constitutive of disciplinary practice while the fiery trace in Derrida’s writing on Kafka’s law concludes on the ash-laden edges of Blanchot’s unavowable work.

Thesis (Ph. D.)--State University of New York at Binghamton, Philosophy, Interpretation and Culture Graduate Program, 2007. / Includes bibliographical references.

Zugl: Mainz, Univ., Diss.

Thesis (M.A. (English))--University of Pretoria, 2003. / Includes bibliographical references.

Made available in DSpace on 2016-08-10T11:07:26Z (GMT). No. of bitstreams: 1 SIMONE RAMES ABRAHAO BASILIO DA COSTA.pdf: 680734 bytes, checksum: e6ea33c4837819850ebcfb09eef61707 (MD5) Previous issue date: 2009-11-10 / This research had as main objective to analyze children's literature in the Mannerist aesthetic approach, involving the Mannerist s theme and discursive categories as artificiality, puzzles, metamorphosis, monstrous, mythical, analog metaphors, hieroglyphics, fantastic, wonderful, and others. The works chosen are between the seventeenth to the twenty-first century. They were part of the corpus for the analysis of the tales of Brothers Grimm: Little Brother and Little Sister, The Adventures of Pinocchio of Collodi and the most modern, of Maria de Fátima de Oliveira Lima, The Castle of Snow White. The goal was reached, beyond the expected, because was found in all this epistemic route realized, that the Mannerist is, too, possible to be analyzed as a form of aesthetic expression of art, not only as a period style, as happens in most of literary critics studies, because in every period of each studied children's story, there were more than one category of Mannerism, predicted by the theoretical Gustav Rene Hocke, the theoretical basis of this research. The studies of A. Schaff, second Izidoro Blikstein were used as a methodology, starting from the graph that was constructed in an attempt to discover how occurs the extra-linguistic referent in a work, titled The Making of Reality. The whole process of the critic analyze was supported by the deconstruction of this graph that provided a better understanding of the junction of Mannerism to the child literature, especially in Pinocchio, from the linguistic reference, which is the text itself. In other fairy tales was used the praxis that involves the perception of each reader at the moment of reception of each text, as explained in Chapter Three of this work, in the exposure and understanding of the second graph, the model proposed by the researcher, always deconstructing the traditional structural form, entitled The deconstruction of classical analysis. / Esta pesquisa teve como principal objetivo analisar obras de Literatura Infantil sob abordagem da estética maneirista, no que envolvia as categorias temáticas e discursivas do Maneirismo como artificialismo, enigmas, metamorfose, monstruoso, mítico, metáforas alógicas, hieróglifos, fantástico, maravilhoso, e outros. As obras escolhidas estão compreendidas entre os séculos XVII ao XXI. Fizeram parte do corpus para as análises os contos dos irmãos Grimm Irmãozinho e Irmãzinha O gamozinho encantado; de Collodi As aventuras de Pinóquio e o mais moderno, de Maria de Fátima de Oliveira Lima, O Castelo de Branca de Neve. O objetivo foi alcançado, indo além do esperado, pois se detectou em todo este percurso epistêmico realizado que o Maneirismo é, também, possível ser analisado como forma de expressão estética da arte, não somente como um estilo de época, como se dá na maioria dos estudos críticos literários, porque em toda época de cada conto infantil estudado, lá estavam mais de uma categoria do Maneirismo, postuladas pelo teórico Gustav Rène Hocke, base teórica desta pesquisa. Foram utilizados como metodologia, os estudos de A. Schaff, segundo Izidoro Blikstein, partindo do gráfico que se construiu numa tentativa de descobrir como se dá o referente extralingüístico numa obra, cujo título é A Fabricação da Realidade. O processo de toda análise crítica foi sustentado pela desconstrução deste gráfico que nos proporcionou uma melhor compreensão da junção do Maneirismo à Literatura Infantil, especialmente em Pinóquio, a partir do referencial linguístico, que é o próprio texto. Nos demais contos infantis recorremos à práxis que envolve a percepção de cada leitor, no momento da recepção de cada texto, como explica no Capítulo terceiro desta obra, na exposição e compreensão do segundo gráfico, modelo pela pesquisadora proposto, sempre desconstruindo a forma estrutural tradicional, cujo título é A desconstrução da análise clássica.

Notre hypothèse est la suivante : pour des raisons différentes et avec des méthodes différentes, Derrida et Goodman ont, chacun, ébranlé l’un des deux piliers qui sous-tendent l’essentiel de la tradition philosophique. Derrida, par le jeu subtil de la différance, a fait vaciller la vaste entreprise de mise en ordre. Goodman, par la profusion de mondes construits et irréductibles les uns aux autres, remet en cause l’aspiration à l’unité. Nous avons tenté d’établir que la métaphysique s’est développée dans une dialectique de l’un et de l’ordre, se rétablissant sur l’un de ses pilastres quand l’autre faiblissait. Si donc les soubassements de l’histoire philosophique devaient être revisités – peut-être révisés – il serait fructueux d’user simultanément des propositions derridiennes et goodmaniennes. C’est l’originalité de ce projet. Il s’agit, pour neutraliser la récupération dialectique par l’autre pilier (par l’unité quand l’ordre faillit ou par la mise en ordre dans la multitude s’immisce) d’interroger la tradition suivant le double impératif de la déconstruction et du nominalisme, suivant le double prisme du dés-ordre de Derrida et du multiple de Goodman. Nous avons tenté d’établir que l’efficace d’une remise en cause du « mythe de l’un » ne peut se faire sans ébranler le « mythe de l’ordre ». Considérer conjointement les systèmes (ou des dé-systématisations) de Derrida et Goodman serait donc, suivant ce dessein, non seulement utile mais presque indispensable. Chacun d’eux permet d’éviter la récupération dialectique du schème de l’autre. L’étude est menée à partir d’un inconfort partagé face au concept de vérité. / Our hypothesis is the following : for different reasons and with different methods, Derrida and Goodman have both deconstructed one of the pillars of the Western philosophical tradition. Derrida, using the subtleties of the differance concept, has shaken the general entreprise of « organisation ». On the other hand, Goodman, by considering numerous constructed worlds that cannot be reduced one to the other, questions the desire of unity. We have tried to establish that metaphysics has developed in a dialectic articulation of order and unity, using one when the other fails. If the groundings of the history of philosophy were then to be revisited, it would be useful — if not necessary — to use simultaneously the derridean and goodmanian views. This the originality of this project. To break the dialectic mechanics using order to cure multiplicity, or the other way round, we have reconsidered the tradition using both deconstruction and nominalism, Derrida’s disorder and Goodman’s diversity. We have tried to show that the efficiency of the questioning of the « unity myth » depends on how far the « order myth » has been revised. Considering simultaneously both Derrida’s and Goodman’s systems allows to avoid the dialectic neutralisation of the proposal. The study is performed through the question of truth.

abstract: This dissertation critically examines whether and how the practices involved in the crafting of the European Union may be said to go beyond modern statecraft. European integration should in part be seen as an attempt to transcend the modern state. Among many of the early proponents of European integration, the nation state had become associated with militarism, jingoism and ultimately, at least partly, to the blamed for the many devastating wars on the European continent, and even a normative order that made the Holocaust possible. Most other studies that have dealt with the EU's alleged difference from the modern state have employed an understanding of the state which confers a certain ontological standing and status onto its purported object of study. This dissertation argues that a critical approach to European integration needs to go beyond such a representationalist, ontologizing understanding of a political entity. Instead, in order to start addressing the question of state violence that European integration emerged as a response to, the crafting of the Europe Union needs to be problematized in relation to practices of statecraft. The dissertation also contends that previous engagements of European integration in relation to the modern state have neglected engaging the broader normative horizon in which the modern Westphalian state is inscribed. The first chapter puts forward a way of understanding modern statecraft. The subsequent chapters examine four different legitimation discourses of European integration against such an understanding: EU's failed Constitutional Treaty, EU's foreign policy discourse, European integration theory, and an instance of European migration policy. The dissertation concludes that the crafting of Europe in many ways resembles the crafting of the modern state. In fact, the crafting of the European Union is plagued by similar ethical dilemmas as the modern state, and ultimately animated by a similar desire to either expel or interiorize difference. / Dissertation/Thesis / Ph.D. Political Science 2012

An examination of scholarly work on nationalism reveals that the nation is typically defined on the basis of positivistic understandings of human nature or society. Consequently, it is understood, not in term of its own specificity, but in terms of an underlying referent that is thought to engender it. Since the unity of the nation is attributed to a “privileged” cause, the plurality of forms that co-constitute it are underemphasized. Positivist explanations have therefore obfuscated the extent to which “the nation” and “nationalism” come to be diversely imbricated in the social and political fabric, and how the nation comes to be totalized, in light of the plurality of its constitutive forms and subject positions. The present work deconstructs existing theories of nationalism, while seeking to generatively furnish a theory of nationalism that eliminates all reliance on positivism. Laclau and Mouffe’s theory of hegemony, which sees socio-political blocs as discursive terrains of multiple overdetermined forms and relations, is deployed in these efforts. Therefore, nationalism is understood, not in terms of privileged constituents, but as a variable set of overdetermined “family resemblances,” such as, “the nation,” “the state,” “the military,” “tradition,” etc., that come to represent the national communal totality. These “family resemblances” come to be dispersed variably and unevenly, as privileged nodes in the field of overdetermination, “binding” together differential identities. And since what governs any discursive formation is the uneven play of differences, it follows that a particular identity will have saturated, more than any other, the field of overdetermination and the content of nodal signifiers (e.g., “the nation”) with its narratives, thereby establishing its hegemony. “The nation” can thus be understood as a privileged signifier of historically variable content that, through its general and uneven dispersion, fuses but unevenly privileges, multiple identities into a socio-political bloc. / Graduate / 2019-06-14

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-08-30T17:43:12Z No. of bitstreams: 1 SOPHIA PADILHA MENESES - PPGCS DISSERTAÇÃO 2014..pdf: 9809821 bytes, checksum: 67136fdd347c1f42930b6d1104f57b58 (MD5) / Made available in DSpace on 2018-08-30T17:43:12Z (GMT). No. of bitstreams: 1 SOPHIA PADILHA MENESES - PPGCS DISSERTAÇÃO 2014..pdf: 9809821 bytes, checksum: 67136fdd347c1f42930b6d1104f57b58 (MD5) Previous issue date: 2014 / Capes / Esta dissertação busca problematizar as questões de gênero a partir da experiência da pesquisadora confrontada com e no espetáculo Agreste. Para tal considerou-se relevante tomar como fio condutor as afetações binárias e heteronormativas proporcionadas pela experiência da pesquisadora quando esteve no papel de espectadora, permitindo-se assim, analisar a desconstrução do conceito de gênero na perspectiva queer. Ao assistir a referida peça, a espectadora foi surpreendida pela surpresa dramática da trama, o que a fez, enquanto estudiosa do tema, perceber que a heteronormatividade não era uma abstração que operava fora, mas que a incorporava interiormente e sob a qual se via vetor de seus efeitos. Partindo desta vivência e do encontro entre abstrações e consequências reais, desenvolvemos este trabalho que exigiu uma forma distinta de escrita que não é linear, e pretende contemplar um experimentar das questões que analisa, porém o objetivo desta dissertação não se restringe às questões queers. Ela também abrange as relações dicotômicas no interior da pesquisa, como sujeito / objeto, na qual, a participação como forma de conhecimento sinaliza que o pesquisador não está resguardado em um patamar em que a realidade social não o atinja, afete, altere, e sob os quais, em muitos casos, ele mesmo auxilia a reprodução das construções sociais que outrora denuncia. Portanto neste percurso se assume as posições de sujeito e objeto, pois a pesquisadora está inserida num contexto que, ao mesmo tempo em que se desnudam questões sociais, também se vê produtora e vetor de suas causas. O campo de pesquisa tem duas unidades temporais: uma em 2010; e outra em 2013. Ambas complementam o trabalho, no qual, se apresentam práticas sexuais organizadas hierarquicamente, direcionando a sugerir que as categorias heterossexuais e homossexuais são atributos fictícios, utilizadas por estratégias que os agentes alocam de forma a reforçarem um status social. A partir dos efeitos do objeto desta pesquisa se revelam os espaços reservados para tais ficções, que por serem constituídas para definir a verdade última dos sujeitos têm, portanto, consequências reais. Este trabalho não enfatiza as práticas sexuais, mas as questões políticas e hierárquicas que organizam as sexualidades. Para dar conta desta empreitada que desconstrói não só gênero, como a própria linguagem binária que o sedimenta, utilizamos a etnografia desenvolvida por Favret-Saada e a questão da afetação como forma de produção de conhecimento, além da antropologia da experiência e performance de Turner. / This dissertation seeks to problematize gender issues from the experience of the researcher confronted with the theatrical play Agreste, to this it was considered relevant thread take as binary and heteronormative affectations provided by the experience of the researcher when he was in the role of spectator, thus allowing to analyze the deconstruction of gender in queer perspective. When watching that play, the spectator was surprised by the dramatic surprise of the plot, which made her as studious theme, realize that heteronormativity was not an abstraction that operated outside but that embodied within and beneath which by vector its effects. Based on this experience and the encounter between abstractions and real consequences, this study developed that required a distinct form of writing that is not linear, and is intended to address one experiment that examines the issues, but the goal of this dissertation is not limited to queer issues. It also covers the dichotomous relationships within the research as subject / object, in which the participation as a knowledge indicates that the researcher is not guarded at a level where social reality not reach, affect change, and under which, in many cases, it even helps the reproduction of social structures that once denounced. Therefore this path is assumed the positions of subject and object, because the researcher is embedded in a context that, while they undress social issues, also sees producer and vector causes. The field has two time units: one in 2010, and another in 2013. Both complement the work, which, if present sexual practices organized hierarchically, directing to suggest that heterosexual and homosexual categories are fictitious attributes, strategies used by agents to allocate in order to strengthen social status. From the effects of the object of this research is to reveal the placeholders such fictions, which are made to define the ultimate truth of the subject, therefore, have real consequences. This work does not emphasize the sexual practices, but political issues and hierarchical organizing sexualities. To take account of this endeavor that not only deconstructs gender as binary language itself that the sediments, we use ethnography developed by Favret-Saada and the issue of affectation as a form of knowledge production, beyond the anthropology of experience and Turner performance.

A presente dissertação tem como objetivo apresentar uma leitura da peça Entertaining Mr. Sloane do dramaturgo inglês Joe Orton, investigando de que formas os artifícios literários são construídos para interromper as representações normativas sobre sexualidade e moralidade. Na obra de Orton, os comportamentos e discursos das personagens ignoram autoridades representativas de instituições que, como a família, trabalham para ratificar a noção de modos sexuais ligados à matrix heterossexual que constrói uma subjetividade configurada na equação essencialista de sexo-gênero-desejo. A investigação encontra suporte na História da Sexualidade, de Michel Foucault, e no conceito de performatividade de Judith Butler, usando a Desconstrução como uma estratégia de leitura. A estética literária nas peças de Joe Orton é alicerçada no anarquismo e na subversão como metáforas para interromper categorias convencionais de sexualidade que procuram controlar as vidas e os comportamentos humanos. Mostrando perversidade sexual pela fusão do que poderia ser ultrajante com o cômico, Joe Orton constrói um estilo único, conhecido como Ortonesco. Apesar de suas peças pertencerem ao território da comédia, são freqüentemente classificadas de acordo com estilos cômicos, ou sub-gêneros. Embora essa classificação seja muitas vezes problemática e não haja consenso entre os críticos em relação às categorias das peças, eu trato Entertaining Mr. Sloane como comédia de costumes por levar em consideração seus elementos e a definição desse estilo de comédia. Os discursos das personagens e suas ações mostram como as representações sexuais e de moralidade criam construtos sociais que prendem sexo, gênero e desejo em uma equação que deve resultar em uma identidade estável e universal. Os elementos literários mostram como esse sistema de representação é subvertido pela desestabilização de autoridades que trabalham como centro de sentido do mundo tradicional. / The present thesis aims at presenting my reading of the play Entertaining Mr. Sloane, by the English playwright Joe Orton. The analysis investigates in which ways literary artifices are constructed to disrupt normative representations of sexuality and morality, and in which ways the characters’ behaviors and discourses disregard authorities, such as that concerning the family institution, which work to maintain sexual mores embedded in Western society by a heteronormative matrix which constructs a subjectivity configured in the essentialist equation of sex-gender-desire. The investigation finds support in Michel Foucault’s The History of Sexuality, and Judith Butler’s concept of performativity, using Deconstruction as a strategy of reading. The literary aesthetics in Joe Orton’s plays is achieved by showing anarchism and subversion as a metaphor to disrupt conventional categories of sexuality which seek to control human lives and behaviors. Showing sexual perversity by fusing what could be outrageous with the comic mode, Joe Orton constructs a unique style, known as Ortonesque. Because his plays belong to comedy, they are often categorized according to the comic styles or sub-genres. However, that categorization is problematic many times, and there is no agreement from the part of many critics regarding the category of the plays. I consider Entertaining Mr. Sloane as Comedy of Manners by taking into account their elements and the literary definition of comedy style. The characters’ discourses and actions show how sexual and moral representations create social constructs that tie sex, gender and desire in an equation that must result in a stable and universal identity; and the literary elements show how that system of representation is subverted by destabilizing authorities which work as center of meaning to the Western world.