Esta dissertação se desenvolve no intuito de estabelecer uma aproximação entre o pensamento do filósofo Jacques Derrida, conhecido também como desconstrução, e a educação, apontando algumas possíveis convergências entre elas. Deste modo é problematizado se a educação pode vir a ser um movimento em/da desconstrução. O estudo tem como objetivo compreender a importância de retomar certos conceitos fundamentais nos discursos sobre a educação, cujo significado sólido seria a garantia da estabilidade dos discursos, fornecidos como meios ou quase fórmulas prontas, capazes de dar conta de tudo aquilo que se entende por educação. O procedimento adotado é especificamente uma pesquisa bibliográfica, mediante uma análise interpretativa, que tem como fio condutor o referencial teórico de Derrida e sua profunda análise e questionamento de autores da tradição filosófica. A escolha do tema surgiu em razão da importância de se compreender a educação como abertura ao outro, à responsabilidade, e a resposta à singularidade. No percurso da pesquisa são abordados vários conceitos importantes na desconstrução derridiana trilhando um caminho que pretende mostrar como a desconstrução assinala uma outra possibilidade de olhar e enfrentar os atuais discursos sobre a educação. A título de conclusão, observa-se a necessidade de conceber a educação de acordo com o olhar do que está porvir, a partir do qual é possível pensar o outro como aquele que chega inesperadamente, e cujo encontro não pode ser calculado e programado, pois o outro é sempre imprevisível e totalmente outro. / This dissertation is a study that tries to establish an approach between the philosopher Jacques Derrida´s thought, known as deconstruction, and education, showing some convergences between them. Considering this, it is questionable if education can be a movement in/of deconstruction. The study aims to understand the importance of resuming some fundamental concepts in the discourse on education, whose meaning would be an assurance of speeches´ stability, given as ways or formulas, which are capable to handle everything that is understood by education. The procedure in this study is a bibliographic research, through an interpretative analysis, considering Derrida´s theoretical references and his deep analysis and questioning of philosophical tradition´s authors. The theme was chosen because of the importance of understanding education as openness to others, responsibility, and the response to singularity. During the study, several important concepts are discussed about Derrida´s deconstruction, trying to show how deconstruction marks another possibility to look at and face the current discourse on education. In conclusion, there is the need to consider education according to look future, thinking about the other as one who comes unexpectedly, and which meeting can not be estimated and planned because the other is always unpredictable and entirely another.

Orientador: Viviane Veras / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T15:21:06Z (GMT). No. of bitstreams: 1 Santos_OliviaA.Niemeyerdos_D.pdf: 687335 bytes, checksum: 884b61b6adcec53dc66b7f339288dea6 (MD5) Previous issue date: 2010 / Resumo: Minha tese pretende considerar a experiência da tradução de La Vérité en peinture (Jacques Derrida, 1978), em seus vários aspectos, e reconhecer, na singularidade desse ato tradutório, algumas das questões e pressupostos que percorrerem o pensamento ocidental: a oposição fora/dentro; a possibilidade/impossibilidade do encontro com o outro; o mito da origem e a restituição como apropriação. A metáfora biológica da autoimunidade, utilizada por Jacques Derrida em seus últimos textos (e articulada, por ele, à religião, à ciência e à democracia), é o ponto de partida para essa reflexão: nosso corpo possui um sistema imunológico que evita que algo de "fora" - que o estranho ou o estrangeiro (um vírus ou bactéria, por exemplo) -, uma vez "dentro" dos limites do corpo, o destrua. No entanto, em algumas ocasiões, entra em funcionamento outro sistema, autoimunológico, que ataca ou enfraquece esse mesmo sistema imunológico, permitindo que o de "fora" invada os limites do "dentro". Mas essa invasão não é sempre ou não é somente uma ameaça, um perigo. É também o que permite, por exemplo, a aceitação de um enxerto ou de um órgão retirado de outra pessoa. Permite que algo de "fora" salve o paciente. Possibilita, portanto, uma sobrevida. Sobrevida do corpo e, utilizando o conceito de autoimunidade de forma mais ampla, sobrevida da democracia, da ciência (a mudança de paradigma) ou do texto original (o comentário, a interpretação, a tradução). Procuro articular os quatros capítulos de A verdade em pintura com os quatro capítulos da tese: no primeiro, para reconhecer a complexa relação entre original e tradução a partir da lógica do parergon, considerando que a tradução trabalha sempre com o que está dentro das fronteiras do original; no segundo, para refletir sobre o ponto limite, a experiência daquilo que permanece irredutivelmente idiomático, mas que, mesmo assim, deve se entregar a uma decisão de tradução; no terceiro, para avaliar a posição do original como paradigma, suspeitando da possibilidade de uma origem absoluta ou modelo primeiro; no quarto e último capítulo, para examinar a questão do par e o desejo da tradutora de restituir "a verdade do original", levando em conta a afirmação de Derrida: "toda restituição constitui uma apropriação" / Abstract: My thesis takes into consideration the experience of translating La vérité en peinture (Jacques Derrida, 1978) in its various aspects, and in the singularity of this translation process recognises some of the questions and presuppositions which pervade Western thought: the outside/inside oppositions; the possibility/impossibility of an encounter with the fellow man; the myths of origin and restitution as appropriation. The biological metaphor of autoimmunity used by Jacques Derrida in his last texts (and blended by him, with religion, science and democracy) is the starting point for this reflection: our body has an immunologic system that is prevented from destruction by something from "outside" - something alien or foreign such as, for example, a virus or a bacterium - which may get "inside" the limits of the body. Nevertheless, on some occasions, another system - an autoimmunologic one - is activated, and it attacks or weakens this very immunologic system, allowing the "outside" to invade the limits of the "inside". Not always, or not only, though, is this invasion a threat, a danger. This is also what allows, for example, the acceptance of a grafting or an organ taken from another person. It allows something from the "outside" to save the patient. Therefore, it enables a survival - survival of the body - and, by using the concept of autoimmunity in a wider sense, survival of democracy, of science (a change in the paradigm) or of the original text (the commentary, the interpretation, the translation). I try to link the four chapters of A verdade em pintura with the four chapters of my thesis: in the first chapter, the aim is to recognise the complex relation between the original and the translation from the logical perspective of the parergon, considering that translation always deals with what is inside the frontiers of the original; in the second chapter, I reflect on the borderline, on the experience of that which remains irreducibly idiomatic, but even so should surrender to a translation decision; in the third chapter, my goal is to assess the place of the original as a paradigm, suspecting the possibility of an absolute origin or primary model; in the fourth and last chapter, I examine the original/translation dyad and the translator's wish to restitute the "truth of the original", bearing in mind Derrida's statement that "every restitution is an appropriation" / Doutorado / Teoria, Pratica e Ensino da Tradução / Doutor em Linguística Aplicada

Não é raro nas produções de J. M. Coetzee e de Roberto Bolaño que a prática artística converta-se em exercício de terror e violência. São constantes as situações em que a construção literária e da literatura produz modos específicos de autoritarismo, esquecimento e injustiça. Tais atos provocam um abalo enunciativo nos textos que os narram, gerando um questionamento sobre sua própria legitimidade (estética, ética, política) e a do campo discursivo ao qual estão associados. Para compreender a situação apresentada e enfrentada por essas obras, esta tese recompõe os percursos históricos por elas traçados. A começar por genealogias da literatura e de sistemas literários, que se entrecruzam, sobrepõe-se ou apropriam-se do passado colonial, do nazismo, das ditaduras latino-americanas e do apartheid, tal como indiciam Foe e La literatura nazi en América. Em seguida, nossa rota se detém sobre os períodos de transições que marcaram tanto a África do Sul como o Chile de finais do século XX, nos quais processos de verdade e justiça acabam se revertendo em casos de neutralização da memória e da linguagem, ficcionalizando a violência do passado em troca da legitimação da nova ordem discursiva do presente, na qual o literário teria um lugar próprio, tal como ocorre, por exemplo, em Nocturno de Chile. Por último, abre-se o presente democrático a partir do qual todos esses livros são narrados, em que a literatura se converte no produto mais bem acabado de um regime de oferta da palavra e de administração da multiplicidade, sob a forma do direito e da promessa do direito. Assim se configuram, por exemplo, Elizabeth Costello ou Los detectives salvajes, sem, no entanto, deixarem de esboçar uma fuga desse horizonte, em busca de outros mundos, outras formas possíveis de partilhar a linguagem. Nessa trajetória, iremos rever importantes conceitos e valores que estão intimamente ligados a essa prática simbólica tais como autonomia, liberdade, memória, democracia, entre outros, para que possamos compreender em que condições a literatura pode se tornar indesejável ou mesmo repudiável, tais como conjecturam esses autores / It is not uncommon, in the works of J. M. Coetzee and Roberto Bolaño for artistic practice to convert itself into the exercise of terror and violence. In numerous situations, the literary construction and literature produce particular types of authoritarianism, oblivion and injustice. Such acts provoke an enunciative disturbance in the narrating texts, generating questions about their own (esthetic, ethics, politics) legitimacy and about the discursive field to which they are associated. In order to understand the situation presented and the ones faced by these literary works, this thesis reconstructs the historical paths tery trace. The study begins with literary genealogies and literary systems that intersect, overlap or appropriate Colonial History, Nazism, Latin American dictatorships and the apartheid, such as indicated by Foe and La literatura nazi en América. Then the focus rests on periods of transition that mark both South Africa and Chile at the end of the 20th century. In such periods truth commissions and justice end up reverting to the neutralization of memory and language, fictionalizing the violence of the past in exchange for the legitimization of the new discursive order of the present, in which literature would have a place of its own, such as in Nocturno de Chile. Lastly, the democratic present is the opening from which all of these books are narrated, wherein literature converts itself into the most polished product of a supply scheme of the written word and the administration of multiplicity, in the form and the promise of the right. It thereby constitutes the works, Elizabeth Costello or Los detectives salvajes, for example, while simultaneously sketching an escape of this horizon, in search of other worlds, other possible forms of sharing language. In this trajectory, important concepts will be reconsidered, along with values closely linked to the literary, such as autonomy, freedom, memory, and democracy, among others, so that it may be possible to understand in which conditions, literature can become undesirable or even despicable, as these authors conjecture

Dans cette thèse, nous nous intéressons aux relations spécifiques entre l’architecture et la philosophie dans une période bien précise de l’histoire de l’architecture. Notre recherche consiste en une analyse approfondie du processus de la conception architecturale approchée à partir de la philosophie de la déconstruction. Il ne s’agit pas d’aborder de façon générale le domaine trop vaste des emprunts que les architectes peuvent faire à la philosophie, mais bien de se limiter à une entrée beaucoup plus précise, en partant d’une interrogation portant sur les relations que les architectes dits «déconstructivistes» entretiennent avec un courant de la philosophie connu, depuis les écrits du philosophe français Jacques Derrida, sous cette même appellation de «philosophie de la déconstruction». L’enjeu est d’étudier le processus de conception architecturale, son passage par des concepts et son aboutissement dans des formes, en le référant à la philosophie et en se demandant en particulier comment les architectes utilisent des références philosophiques. Pour arriver à une assimilation plus rigoureuse de la pensée déconstructive en architecture, l’architecte American : Peter Eisenman a proposé une interprétation du processus de conception architecturale proche de la logique textuelle. Ce processus s’appellera chez Eisenman la «décomposition». Notre problématique majeure sera d’essayer de comprendre quels outils à la fois théoriques et pratiques utilisent les architectes contemporaines afin de restructurer une conception architecturale influencée par la pensée déconstructive ? Le but était d’arriver à donner à la déconstruction en architecture un aspect et une définition précis, au-delà loin des seules images métaphoriques que certains architectes peuvent proposer de cette notion. De là dépendait le choix des œuvres analysées comme exemples de ce mouvement, mais aussi l’élucidation que nous tentions du processus de conception architecturale issu de cette notion de déconstruction. Notre but était de parvenir à donner une figure esthétique, théorique, fonctionnelle et opérationnelle à un mouvement architectural. Nous avons construit notre projet de recherche autour de quatre problématiques et hypothèses majeures qui résument de façon générale le chemin parcouru. La première interrogation vise l’origine de ce mouvement, dans la mesure où il est au croisement de ses deux disciplines divers, la philosophie et l’architecture. Est-il possible que ce mouvement soit le fruit d’une transformation philosophique en architecture, détaché de toute théorie architecturale antérieure ? Ou bien n’est-il que le développement d’une ou plusieurs idéologies antérieures en architecture ? Notre deuxième interrogation est orientée vers une compréhension de la source philosophique – les écrits de Jacques Derrida – et le processus d’une critique de la métaphysique chez le philosophe. Qu’est-ce que la déconstruction? La troisième interrogation vise une analyse concrète entre les données philosophiques et les œuvres architecturales. Comment l’architecture, art de construction par excellence, peut-elle devenir une déconstruction d’elle-même ? Dans quelle (s) limite (s) est-il possible de réduire la déconstruction à des connaissances définissables, comme semble malgré tout l’exiger l’architecture ? Ainsi, la dernière interrogation principale de notre projet vise l’impacte de ce mouvement sur l’architecture en globale et l’architecture contemporaine. / In this thesis, we focus on the specific relationship between architecture and philosophy in a specific period in the history of architecture. Although our research analyzes the process of architectural design through the philosophy of deconstruction, it does not generally address too broad field of philosophy. In fact, the project undermines the effects of the philosophical method of deconstruction on architecture and the so-called deconstructivists' concern with "philosophy of deconstruction" known from the writings of the French philosopher Jacques Derrida. In other words, the challenge is to study the process of architectural design, its association with concepts and its effect on forms, by referring to philosophy and in particular by claiming how architects use the philosophical references. To achieve a more precise assimilation of deconstructive thought in architecture, American architect Peter Eisenman proposed an interpretation of the architectural design process close to the textual logic. For Eisenman, this process is called "decomposition". Our major issue is to try to understand what theoretical tools and practices are used at the same time by the contemporary architects to restructure an architectural design influenced by the deconstructive thought. The aim is to give the deconstruction in architecture, a specific dimension and precise definition, far beyond the few metaphorical images that may offer some architects of thisconcept. Although we require analyzable projects to achieve a clear-cut definition, we have tried to elucidate the architectural design process resulting from the notion of deconstruction. Our goal is to achieve an operational, functional, theoretical and anaesthetic figure in an architectural movement. We have carried out our research project around four major issues and assumptions that generally summarize achieved progress. The first question examines the origin of this movement, in so far as it is at the crossroads of two different disciplines, philosophy and architecture. Is this architectural movement theresult of a philosophical transformation in architecture apart from any previous ideologies in architecture or is it the product of the development of one or more ideologies ? Our second question is directed towards an understanding of the philosophical source in the writings of Jacques Derrida and the process of critique of metaphysics for him. What is deconstruction ? The third question is about the concrete analysis between philosophical data and architectural works. How architecture, art of construction by excellence, become a deconstruction itself ? To what extent is it possible to reduce the deconstruction to a definable knowledge that the architecture can use it ? Thus, the last main question of our project highlights the impact of this movement on architecture in global and contemporary architecture.

Cette thèse a pour but d’interroger la pertinence des catégories d’objet et de sujet dans le champ politique, à la fois comme outils d’analyse, mais aussi comme support de l’action. Il s’agira ainsi de montrer que les objets, c’est-à-dire tout ce qui vient à occuper une place dans le champ politique, sont le produit d’une construction subjective, dont la mise en œuvre est à la fois individuelle et collective : le monde n’apparaît comme réalité d’objets qu’en tant qu’il est fixé à travers la perception humaine et le langage.Les processus de subjectivation seront alors envisagés selon le double critère d’opposition aux objets du monde, ou de leur utilisation stratégique. Le développement de cette thèse sera l’occasion d’adopter une approche pluri-disciplinaire : seront convoqués la psychanalytique, la philosophie, des écrits d’esthétique musicale, ainsi qu’une analyse théorico-historique de certains courants politiques, singulièrement le maoïsme chinois et sa réception française. / The aim of this thesis is to question the relevance of object and subject categories in the political field, as tool for the analysis but also as props for action. The focus will be on showing that objects, namely, everything that comes to occupy a place in the political field, are the product of a subjective construction, which is carried out both individually and collectively : the world appears as a reality of objects only insofar as it is established through human perception and language.Subjectification processes will then be considered using the double criterion of opposition to world objects or of their strategic use. The central part of this thesis will afford the opportunity to adopt a pluridisciplinary approach : it will rest on psychoanalysis, philosophy, drawn mainly from the Works of J. Derrida and A. Badiou, writings on musical esthetics, as well as a theoretico-historical analysis of a few political movements, particularly Chinese Maoism and its French reception.

On aura essayé, dans notre période où des actes meurtriers sont commis au nom de Dieu, de réévaluer la compréhension de celui-ci dans la philosophie contemporaine de Kant à Lévinas. En effet, là où autrefois Dieu réglait le régime de signification de la vie et de la mort, jusqu'à déterminer le sens du sacrifice de cette vie, la philosophie contemporaine tente de dégager – c'était du moins notre thèse principale – un Dieu déceptif et non plus tout-puissant. Ce Dieu ne justifierait ainsi plus le sens de la vie, mais décevrait le sens de celle-ci en l'ouvrant non pas à la promesse d'une vie après la mort, mais à la finitude comme telle. Cette ouverture divine à la finitude, ouvre en cela même à des injonctions éthiques et politiques. Si « Dieu est mort », ainsi, c'est en tant que, dans sa mort, il ouvre également l'instant de la mort en général : la mienne et celle de l'Autre – a fortiori –, en intimant chacun et chaque autre à se veiller dans une Bien-veillance soucieuse de la mortalité d'Autrui. A la conséquence de quoi, on aura dernièrement voulu penser, contre notre tradition métaphysique patriarcale, non plus un Dieu-le-Père, mais un Dieu comme Mère, dont la maternité, selon Lévinas, serait accueil inconditionnel de l'Autre, responsabilité infinie pour sa vie et pour sa mort. / We would have try, in our area where murderous acts are committed in the name of God, to reevaluate his understanding in contemporary philosophy from Kant to Levinas. In point of fact, there were formerly God solved the meaning regime of life and death, up to determine the sense ofthis life's sacrifice, the contemporary philosophy tempts to clarify - it is at the very least our mainthesis - a deceptive God ( Kant ) and neither all-mighty. This God thus wouldn't justify the meaning of life, but deceived it's meaning in opening it not to the promise of life after death, but to a finiteness as such. This divine opening to finiteness, opens in itself ethical and political injunctions. If "God is dead", so, it is a such that, is his death, he also opens the instant of death in general : mine and others - all the more so - ordering each and everyone to attend to a Good-attending, mindful of Other's morality. In the consequence of what, we would lately have wanted to think, asour metaphysic patriarchal tradition, not anymore a God-the-Father, but a God as a Mother, whosemotherhood, according to Levinas, would be an unconditional welcome of the Other, infinite responsibility for it's life and death.

In this essay, I examine the conception of metaphysical desire as understood by Emmanuel Levinas within his work Totality and Infinity. The main problematic of the work is whether a relationship with an absolute Other, understood as a positive infinity, that is posited beyond the realm of the I, is possible, or whether the totality of the same is inevitable. I present metaphysical desire to the Other as a crucial point in Totality and Infinity, which in its endless-growing hunger beyond satisfaction becomes an infinity within a finite subject, therefore sets up the relationship between the I and the infinite Other, as a concretization of the idea of infinity. In addition, I construe, in the light of the critique of Levinas by Jacques Derrida and other research, an understanding of metaphysical desire as a pathos of ethics that interrupts the spatio-temporality of the same by being a spatio-temporality which opens the I and directs it toward the Other without abolishing their distance. In this neverending movement the egoism of the I is discontinued and peace becomes possible without resulting in totality. Instead, the movement toward the infinite Other is a movement toward an uncharted future, a movement which consists of an infinite dialogue with the Other.

[pt] Esta pesquisa tem como objetivo re-pensar o humano por meio da leitura de dois grandes pensadores, tendo em vista a existência do Dasein humano em Martin Heidegger e do rastro em Jacques Derrida. Repensar o humano se torna fundamental, na medida em que ele foi e é tomado como algo determinado ou determinável, como uma unidade que pode ser encontrada em sua essência e definida a partir de características específicas. Este modo de pensar e tomar o dito humano aparecem em diversos discursos sejam eles filosóficos, psicológicos ou do senso comum. O que resulta daí é uma relação com este suposto humano a partir de determinações pré-definidas, muitas vezes coisificadas, enclausuradas, tomadas como óbvias e, dessa forma, inquestionadas. Martin Heidegger foi um pensador de grande importância para repensar o humano, destruindo as bases que sustentavam as determinações deste e abrindo espaço para compreender outro modo de se relacionar com ele. A destruição metafísica do humano aparece em uma de suas obras capitais Ser e tempo (1927) a partir da analítica existencial do Dasein. Analítica esta fundamental para pensarmos o modo como Heidegger passa a re-pensar o humano e o lugar deste Dasein humano no início de seu pensamento. Em seguida, este Dasein humano será apresentado em obras mais tardias, onde Heidegger aborda o tema do humanismo de modo mais direto e apresenta a relação deste re-pensar junto à psicoterapia em seminários de Zollikon. Posteriormente a partir de uma desconstrução derridiana tentaremos abordar os limites desta destruição heideggeriana do humano, apontando alguns elementos de suma importância no pensamento de Jacques Derrida para que possamos alargar estes limites, re-marcando-os e transbordando-os. As obras utilizadas nesta passagem da pesquisa serão textos em que Derrida dialoga mais diretamente com Heidegger e aponta e acena para estas marcas e suas re-marcas. Por fim, será apresentado o re-pensar e o re-marcar o humano a partir de leituras derridianas em que o autor tangencia e responde às demandas e chamados de um quem, um quem humano, um quem, talvez, derridiano. Tais remarcas terão como objetivo acenar para um re-pensar o humano a partir do rastro (Trace), fazendo tremer as supostas relações em jogo deste humano na filosofia, nas ciências humanas, na experiência diária e na psicoterapia. / [en] This research aims to re-think the human being through the reading of two major philosophers, thinking the Dasein s existence in Martin Heidegger and the trace in Jacques Derrida. Rethinking the human becomes fundamental once he was understood as something determined or determinable, as an unit that can be found in his essence and defined by specific characteristics. This way to think and understand the so called human appears in different speeches whether they are philosophical, psychological or from the common sense. Resulting in a relation with this so-called human within pre-defined determinations, often objectified, closed and taken as an obvious fact and, thus, unquestioned. Martin Heidegger was an important philosopher to the rethinking of the human on destroying the basis underlaying human determinations, making way to understand another approach on how to relate to him. The metaphysical destruction of this human appears in one of his capital works Being and Time (1927) and from the existential analytic of Dasein. This analytic is paramount to think how Heidegger starts to re-think the human and the place of this human Dasein at the beginning of his thought. Subsequently, this human Dasein will be presented in his later works, where Heidegger approaches the humanism theme more directly and presents the relation of this re-thinking with the psychotherapy in the Zollikon seminars. Furthermore, we will try to approach the limits of this heideggerian destruction of the human from a derridian deconstruction, pointing out some important elements from the thought of Jacques Derrida to be able to extend this limits, re-marking them and overflowing them. The texts used at this point of the research will be the ones in which Derrida dialogues more directly with Heidegger. Pointing out these marks and their re-marks. Finally, the human rethinking and re-marking will be presented from derridian readings, in which the author tangents and responds to the demands and calls of a who, a human who, a who, maybe derridian. These remarks will aim to re-think the human from the trace, shaking this human s supposed relations, at stake in philosophy, in human sciences, in everyday experiences also in psychotherapy.

Ingolstadt, Univ., Habil.-Schr.--Eichstätt, 2007.

I trace Jacques Derrida's notions of self and truth in Circumfession. This text paints a gruesome self-portrait depicting the inescapable violence of subjectivity. The self is born in blood. Derrida courageously confesses to being a casualty of this lovelessness. Similarly, exploring the depth of patriarchy's inscriptions requires facing the painful truth of my bleeding self. Investigating these wounds seems to reopen them, making me complicit in my own oppression. Drawing from the rich narrative of Ingeborg Bachmann's novel Malina, I allow feminists such as Helene Cixous, Luce Irigaray, Drucilla Cornell and bell hooks to engage Derrida's notions of the wounded and wounding self. Beginning in this bloody place, they attempt to write a way-out of the disempowering systems of subjectivity to which the female self seems confined. They write in order that love will bleed some light on the struggle for empowered female subjectivity, re-writing the self as a space of love rather than violence.