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

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.

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

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.

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening by distinguishing between <em>l’e´coute</em> and <em>l’entente</em>. <em>L’e´coute </em>is an attending to and answering the demand of the other and <em>l’entente</em> is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of <em>l’e´coute</em>, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (<em>il s’e´coute</em>) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (<em>se fait entendre</em>) as he makes himself listened to (<em>se fait e´couter</em>). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both <em>l’entente</em> and <em>l’e´coute</em> when it listens as Chaplin listens.

This paper examines certain theoretical underpinnings of the historical processes by which Shakespeare's history plays became the de facto collective memory of the events they depict, even when those events are misrepresented. The scholarly conversation about this misrepresentation has heretofore centered on Shakespeare's potential political motivations. I argue that this focus on a political, authorial intent has largely ignored the impact these historical distortions have had over the subsequent 400 years. I propose that, due to Shakespeare's unique place in the historical timeline of the development of collective memory, Shakespeare's historical misrepresentation in the history plays is a byproduct of the emerging ability to access historical sources while also shaping the nascent collective memory. Shakespeare became an archon, in the Derridian sense, of English history. As such he exercised the archon's hermeneutic right to interpret English history. Tracing the methods by which the public experienced Shakespeare's plays, this project shows that in the 20th century film became the dominant medium by which audiences experienced Shakespeare for the first time. Using Orson Welles' Chimes at Midnight as the principle example, I show that the hermeneutic right shifted away from Shakespeare and was instead taken on by directors reinterpreting Shakespeare's version of history. Welles' knowing manipulation of the archontic function empowers his film, affecting subsequent interpretation and placing it squarely in the Shakespearean film canon.

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.

<p>The following inquiry begins with one simple question: who is the margin? In other words, what is the referent of the term margin? Is it possible for language to capture connotations of an intended and supposed reality beyond its own limits? My supposition is that margin is a valuable concept to critical studies of the hegemonic order and dominant culture in various contexts. It is therefore necessary to expose the term itself to a critical analysis by attempting to trace its position in different discourses. The intention is to illustrate that the term margin is not merely an abstraction, confined within the framework of intricate theoretical rhetoric.</p><p>In a deconstructive analysis of Gender Trouble by Judith Butler and Can the Subaltern Speak? by Gayatri Chakravorty Spivak, based on the work of Jacques Derrida, I study the significance of the term margin and explore how the use or non-use of concrete examples affects the reception of both the term margin and ultimately the text as a whole.</p><p>The study of these two texts reveals that some of the very same critique raised by Butler and Spivak is itself applicable to the authors’ own theory production. Consequently, the authority of Butler and Spivak is put to the test through deconstructive analysis by disclosing the discrepancies between concrete examples, the authors’ philosophical stance as well as statements and positions found in other examples of their intellectual work.</p>

<p>Dag Wellander: Meaning – memory: oblivion. A reading of Birgitta Trotzig’s The mud kings daughter. Master of Arts paper. Written in Swedish. 115 pp. Department of Literature and History of Ideas, Stockholm University, SE – 106 91 Stockholm</p><p>The purpose of the paper is to treat one question, including the consequences of it’s answer, the question if The mud kings daughter is a text that has meaning. The question is in a first series of steps being approached by the way of scrutinizing the meaning found in the text in accordance with the methodology applied by those four dissertations that are available on the subject, i.e. on The mud kings daughter. These examinations do not find that the alleged forms of meaning stated by the dissertations is being produced by the text. On the contrary striking similarities is being found between these alleged forms of meaning on the one hand, and on the other the unfounded, disambiguated meaning that, according to Shoshana Felman, Freudian and anti-Freudian critics alike, have said is to be found in Henry James’ short novel The Turn of the Screw. In a following series of steps – some of which are being taken on Jacques Derrida’s advice – the rhetorical functioning of the textual ambiguity is observed and often found to be enchanting, whereupon the rhetorical necessity of the textual ambiguity is found to be affliction.</p><p>This split between the rhetorical functioning of the textual ambiguity as rather enchanting, and the rhetorical necessity of the textual ambiguity being affliction, is then treated as something that hardly could be understood, and, accordingly, as something that might be understood as something that could not be understood. The idea is being put in that this split could be thought of as an inversion of oblivion into a living memory of a forgotten reading impression, an idea that is being inspired by the inversion of oblivion into a living memory in Marcel Proust’s In Search of Lost Time.</p><p>Keywords: Birgitta Trotzig, Shoshana Felman, Jacques Derrida, Marcel Proust, meaning, ambiguity, memory, oblivion.</p>