Böcker av Jacques Derrida

This book, written out of Derrida's long-standing friendship with Jean-Luc Nancy, examines the central place accorded to the sense of touch in the Western philosophical tradition.

"In Hospitality, Volume I, Jacques Derrida continues a seminar series he inaugurated in 1991 under the general title of "Questions of Responsibility." Delivered at the âEcole des Hautes âEtudes en Sciences Sociales (EHESS) in Paris from November 1995 through June 1996, the seminar is guided by questions that focus on responsibility and "the foreigner": How is the foreigner welcomed and/or repressed? What does the notion of the foreigner reveal about kinship, ethnicity, the city, the state, and the nation? What are the stakes of the opposition between friend and enemy? How should we think of this in relation to borders, citizenship, displaced populations, immigration, exile, asylum, integration, assimilation, xenophobia, and racism? Derrida approaches these questions through readings of several classical texts as well as more modern texts from Heidegger, Arendt, and Camus, among others. Central to his project is a rigorous distinction between conventional hospitality (always finite and conditional) and the idea of a hospitality open unconditionally to the newcomer"--

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

In the three essays that make up this stimulating and often startling book, Jacques Derrida argues against the notion that the basic ideas of psychoanalysis have been thoroughly worked through, argued, and assimilated. The continuing interest in psychoanalysis is here examined in the various "resistances" to analysis--conceived not only as a phenomenon theorized at the heart of psychoanalysis, but as psychoanalysis's resistance to itself, an insusceptibility to analysis that has to do with the structure of analysis itself. Derrida not only shows how the interest of psychoanalysis and psychoanalytic writing can be renewed today, but these essays afford him the opportunity to revisit and reassess a subject he first confronted (in an essay on Freud) in 1966. They also serve to clarify Derrida's thinking about the subjects of the essays--Freud, Lacan, and Foucault--a thinking that, especially with regard to the last two, has been greatly distorted and misunderstood.The first essay, on Freud, is a tour de force of close reading of Freud's texts as philosophical reflection. By means of the fine distinctions Derrida makes in this analytical reading, particularly of The Interpretation of Dreams, he opens up the realm of analysis into new and unpredictable forms--such as meeting with an interdiction (when taking an analysis further is "forbidden" by a structural limit).Following the essay that might be dubbed Derrida's "return to Freud," the next is devoted to Lacan, the figure for whom that phrase was something of a slogan. In this essay and the next, on Foucault, Derrida reencounters two thinkers to whom he had earlier devoted important essays, which precipitated stormy discussions and numerous divisions within the intellectual milieus influenced by their writings. In this essay, which skillfully integrates the concept of resistance into larger questions, Derrida asks in effect: What is the origin and nature of the text that constitutes Lacanian psychoanalysis, considering its existence as an archive, as teachings, as seminars, transcripts, quotations, etc.?Derrida's third essay may be called not simply a criticism but an appreciation of Foucault's work: an appreciation not only in the psychological and rhetorical sense, but also in the sense that it elevates Foucault's thought by giving back to it ranges and nuances lost through its reduction by his readers, his own texts, and its formulaic packaging.

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

"A new translation of Derrida's groundbreaking juxtaposition of Hegel and Genet, forcing two incompatible discourses into dialogue with each other"--

Influential exploration of the idea of friendship and its political consequences

"Derrida is one of the few Continental philosopher-critics as esteemed for his writings about visual topics as for his attention to more textually based subjects. This volume collects key and scarce writings about the making and apprehension of "visual objects," though the chief focus is on drawing, painting, and photography (with sorties into video and film). What preoccupied Derrida when it came to the visual arts is visibility: what does a pencil actually trace-make visible- when someone is making a drawing? What aspect of the drawing documents the artist's thought and what part documents an external object? What comes from painting other than a painting? The writings collected range from essays originally published in small magazines and journals to never-before translated talks and interviews. There are 19 pieces in all, of which seven have been previously published in English.. The rest have been translated into English for the first time. None is included in the Press's already substantial inventory of works by Derrida. The collection comprises three thematic sections: (1) "The Traces of the Visible" is attuned to the field's preoccupation with the "trace," what is an "image," visibility, and space. (2) "Rhetoric of the Line: Painting, Drawing" engages nearly every register in which one can experience art: the materiality of line and text, the eros of aesthetic experience, the politics of color, and the components of painting, writing and drawing taken together. (3) "Spectralities of the Image: Photography, Video, Cinema and Theatre" explores the media we most readily associate with modern and contemporary art practices"--

"This book is an event in Derrida scholarship, as it marks the publication of a long-lost Derrida text simply as "Geschlecht III," which the French philosopher never completed. Part of a series of reflections that represent his most sustained engagement with the writings of Martin Heidegger, this third part was thought by Derrida himself to be the heart of his Geschlecht series. The enigmatic word itself has several meanings in German, and Derrida teases out its implications for topics as diverse and provocative as sexual difference, nationalism, race, and humanity, engaging with Heidegger's controversial oeuvre throughout, as well as a host of other philosophical thinkers and even poetic ones, in the case of Georg Trakl. Thanks to the meticulous editorial work of Geoffrey Bennington, Katie Chenoweth, and Rodrigo Therezo, and vividly rendered by Chenoweth and Therezo's translation, Derrida's most mysterious text, awaited for decades, is finally available for new generations to ponder"--

Translation of: Heidegger: la question de l'aetre et l'histoire.

Athens, Still Remains is an extended commentary on a series of photographs of contemporary Athens by the French photographer Jean-Franois Bonhomme. But in Derrida's hands commentary always has a way of unfolding or, better, developing in several unexpected and mutually illuminating directions.

This book brings together five encounters. They include the date or signature and its singularity; the notion of the trace; structures of futurity and the "to come"; language and questions of translation; such speech acts as testimony and promising; the possibility of the impossible; and the poem as addressed and destined beyond knowledge.

Originally published in 1995, Advances was first written by Jacques Derrida as a long foreword to a book by one of his most promising former students, the philosopher Serge Margel\u2019s Le Tombeau du Dieu Artisan (The Tomb of the Craftsman). What Derrida uncovers for us is Margel\u2019s own unique theory of the promise in relation to an an-archic, pre-chronological temporality, in conjunction with Margel\u2019s radical rereading of Plato\u2019s Timaeus. As Derrida states right away, Margel\u2019s reading is a new one, a new reading of the Demiurge. A new promise. A new advance. In this magisterial late essay by Derrida, what the reader soon discovers is in part a conversation with his former student, as well as an opening for a new reflection on our current ecological and political crises that are all the more urgent today where the possibility of giving ourselves death as a human race and the end of the world is now, within an era of climate change, more real than ever.As part of Univocal\u2019s Pharmakon series, this essay, itself published in advance, becomes a brief but powerful light pointing toward Univocal\u2019s forthcoming publication of the translation of Serge Margel\u2019s Le Tombeau du Dieu Artisan. \u201cOnce again the Timaeus, of course, but a different Timaeus, a new Demiurge, I promise.\u201d

In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art on Antonin Artaud. Artaud the Moma reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. It is a powerful interjection into the museum halls, a crucial moment in Derrida's thought, and an insightful reading of a challenging writer and artist.

One of contemporary criticism's most indispensable works, Of Grammatology is made even more accessible and usable by this new release.

The first English-language translations of writings from the last years of Jacques Derrida's life

" I have but one language-yet that language is not mine." This book intertwines theoretical reflection with historical and cultural particularity to enunciate, then analyze this conundrum in terms of the distinguished author's own relationship to the French language. Its argument touches on several issues relevant to the current debates on multiculturalism.

This collection of essays and interviews, some previously unpublished and almost all of which appear in English for the first time, encompasses the political and ethical thinking of Jacques Derrida over 30 years.

This volume collects twenty-three interviews given over the course of the last two decades by Jacques Derrida. It illustrates the extraordinary breadth of his concerns, touching upon such subjects as the teaching of philosophy, sexual difference and feminine identity, the media, AIDS, language and translation, nationalism, politics, and Derrida's early life and the history of his writings.

A translation of the keynote address Derrida delivered at the inaugural conference of the Helene Cixous archive at the National Library in Paris. It addresses Helene Cixous's contribution to French thought and is suitable for scholars and enthusiasts hoping to understand the relationship between Derrida and Cixous.

Presents a translation of the complete text of Jacques Derrida's ten-hour address to the 1997 Cerisy conference entitled "The Autobiographical Animal," the third of four such colloquia on his work. This book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session.

ORIGINAL TEXT BY DERRIDA TRANSLATED INTO ENGLISH FOR THE FIRST TIME. In this book Derrida responds to the work, Dream I Tell You, by Helene Cixous.