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285 tulosta hakusanalla "Jacques Derrida"

A Universidade e sua Responsabilidade sob as lentes de Jacques Derrida

A Universidade e sua Responsabilidade sob as lentes de Jacques Derrida

Cristiane Roberta Xavier Candido

Novas Edicoes Academicas
2018
pokkari
Este trabalho foi idealizado com o intuito de fazer valer o que foi vivenciado durante a gradua o e n o meramente reproduzir o conhecimento de um pensador em espec fico, mas sim, concaten -lo em reflex es que possam agregar e contribuir de alguma maneira na realidade em que estamos inseridos. Para isso, o pensador escolhido foi o franco-argelino Jacques Derrida e sua proposta desconstrutiva aplicado de forma reflexiva no habitat educacional em que me encontro: UNIOESTE campus Toledo. O motivo de escolher este local pode ser respondido por meio de uma quest o: Como eu poderia conseguir problematizar, refletir e instigar pensamentos em quaisquer outros lugares (salas de aula, por exemplo), se eu n o consigo fazer isso com/na pr pria Universidade da qual fa o parte? importante destacar que este trabalho tem um car ter introdut rio, haja vista que a bibliografia de Derrida muito ampla e complexa, mas um primeiro passo no qual foram utilizados duas obras principais deste autor, a saber: "A Universidade sem condi o" (2003) e "O Olho da Universidade"(1999) que abordam o pensamento derridiano assistem tico em rela o ao papel das Universidades contempor neas. Qual seria este papel?
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Die Universität und ihre Verantwortung im Lichte von Jacques Derrida

Die Universität und ihre Verantwortung im Lichte von Jacques Derrida

Cristiane Roberta Xavier Candido

Verlag Unser Wissen
2024
pokkari
Diese Arbeit wurde mit dem Ziel konzipiert, die w hrend meines Studiums gemachten Erfahrungen zu verarbeiten und nicht nur das Wissen eines bestimmten Denkers zu reproduzieren, sondern es zu berlegungen zu verdichten, die die Realit t, in der wir uns befinden, erg nzen und in irgendeiner Weise dazu beitragen k nnen. Zu diesem Zweck wurde der franz sisch-algerische Denker Jacques Derrida ausgew hlt und sein dekonstruktiver Vorschlag in einer reflektierenden Weise auf den Bildungsraum angewendet, in dem ich mich befinde: den Campus der UNIOESTE Toledo. Der Grund f r die Wahl dieses Ortes l sst sich mit einer Frage beantworten: Wie k nnte es mir gelingen, an anderen Orten (z. B. in Klassenzimmern) zu problematisieren, zu reflektieren und zum Nachdenken anzuregen, wenn ich dies nicht mit/an der Universit t, der ich angeh re, tun kann? Es ist wichtig zu betonen, dass diese Arbeit einen einf hrenden Charakter hat, da Derridas Bibliographie sehr umfangreich und komplex ist, aber es ist ein erster Schritt, bei dem zwei seiner Hauptwerke verwendet wurden, n mlich: "Die Universit t ohne Bedingung" (2003) und "Das Auge der Universit t" (1999), die sich mit unsystematischem Derrida-Denken in Bezug auf die Rolle der zeitgen ssischen Universit ten befassen. Wie sieht diese Rolle aus?
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The University and its Responsibility through the Lens of Jacques Derrida

The University and its Responsibility through the Lens of Jacques Derrida

Cristiane Roberta Xavier Candido

Our Knowledge Publishing
2024
pokkari
This work was conceived with the aim of bringing to bear what was experienced during my undergraduate studies and not merely reproducing the knowledge of a specific thinker, but rather concatenating it into reflections that can add to and contribute in some way to the reality in which we find ourselves. To this end, the thinker chosen was the French-Algerian Jacques Derrida and his deconstructive proposal applied in a reflective way to the educational habitat in which I find myself: UNIOESTE Toledo campus. The reason for choosing this location can be answered by a question: How could I manage to problematise, reflect and instigate thoughts in any other places (classrooms, for example), if I can't do this with/at the university of which I am a part? It is important to emphasise that this work is introductory in nature, given that Derrida's bibliography is very broad and complex, but it is a first step in which two of his main works were used, namely: "The University without condition" (2003) and "The Eye of the University" (1999), which deal with unsystematic Derridean thinking in relation to the role of contemporary universities. What would this role be?
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L'università e la sua responsabilità attraverso la lente di Jacques Derrida

L'università e la sua responsabilità attraverso la lente di Jacques Derrida

Cristiane Roberta Xavier Candido

Edizioni Sapienza
2024
pokkari
Questo lavoro stato concepito con l'obiettivo di mettere in campo quanto sperimentato durante gli studi universitari e di non limitarsi a riprodurre le conoscenze di un determinato pensatore, ma di concatenarle in riflessioni che possano aggiungersi e contribuire in qualche modo alla realt in cui ci troviamo. A tal fine, il pensatore scelto stato il franco-algerino Jacques Derrida e la sua proposta decostruttiva applicata in modo riflessivo all'habitat educativo in cui mi trovo: il campus UNIOESTE di Toledo. La ragione della scelta di questo luogo pu essere risolta con una domanda: come potrei riuscire a problematizzare, riflettere e istigare pensieri in altri luoghi (le aule, per esempio), se non posso farlo con/all'universit di cui faccio parte? importante sottolineare che questo lavoro di natura introduttiva, dato che la bibliografia di Derrida molto ampia e complessa, ma un primo passo in cui sono state utilizzate due delle sue opere principali, ovvero: "L'universit senza condizione" (2003) e "L'occhio dell'universit " (1999), che affrontano in modo non sistematico la riflessione derridiana in relazione al ruolo delle universit contemporanee. Quale sarebbe questo ruolo?
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L'université et sa responsabilité à travers le prisme de Jacques Derrida

L'université et sa responsabilité à travers le prisme de Jacques Derrida

Cristiane Roberta Xavier Candido

Editions Notre Savoir
2024
pokkari
Ce travail a t con u dans le but de mettre profit ce que j'ai v cu au cours de mes tudes de premier cycle et de ne pas me contenter de reproduire les connaissances d'un penseur sp cifique, mais de les concat ner dans des r flexions qui peuvent ajouter et contribuer d'une certaine mani re la r alit dans laquelle nous nous trouvons. cette fin, le penseur choisi a t le franco-alg rien Jacques Derrida et sa proposition d constructive appliqu e de mani re r fl chie l'habitat ducatif dans lequel je me trouve: le campus de l'UNIOESTE Tol de. La raison du choix de ce lieu peut tre expliqu e par une question: comment pourrais-je probl matiser, r fl chir et susciter des pens es dans d'autres lieux (des salles de classe, par exemple), si je ne peux pas le faire avec/ l'universit dont je fais partie ? Il est important de souligner que ce travail est de nature introductive, tant donn que la bibliographie de Derrida est tr s large et complexe, mais il s'agit d'une premi re tape dans laquelle deux de ses principaux ouvrages ont t utilis s, savoir: "L'universit sans condition" (2003) et "L'oeil de l'universit " (1999), qui traitent de la pens e derridienne non syst matique en relation avec le r le des universit s contemporaines. Quel serait ce r le ?
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Fenomenet röst : en parallellställning av röstpedagogik för skådespelare och Jacques Derrida

Fenomenet röst : en parallellställning av röstpedagogik för skådespelare och Jacques Derrida

Mikael Strömberg

Stiftelsen för utgivning av teatervetenskapliga studier
2011
nidottu
Fenomenet röst är en dokumentation av delar av röst- och talundervisningen vid Teaterhögskolan i Stockholm. Boken följer och beskriver Peter Teubners individuella undervisning, Pia Olbys och Karin Rudfeldts kurs Greker och rock samt slutproduktionen av Lucas Svenssons pjäs Melancholia II i regi av Ellen Lamm. Arbetet med att dokumentera problematiseras genom en filosofisk begreppsapparat byggd från en läsning av Rösten och fenomenet av Jacques Derrida.Mikael Strömberg undersöker den pedagogiska situationen och hur den påverkar utformningen av undervisningen. Mer specifikt utmanas uppfattningen att undervisningen vilar på en närvaro, ett möte här och nu. Genom att skriva fram en struktur byggd på skillnad, spår och ständiga förskjutningar problematiseras resonemang om praktisk kunskap som något som överförs mellan lärare och student i ett gemensamt här och nu.Fenomenet röst är Mikael Strömbergs doktorsavhandling i teatervetenskap.
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La escritura del sigilo - La comunicación en el pensamiento de Jacques Derrida

La escritura del sigilo - La comunicación en el pensamiento de Jacques Derrida

Natalio Morote Serrano

Elaleph.com
2007
pokkari
La pretensi n m s b sica o general de este texto es la reconstrucci n del contexto te rico (lo cual no indica que el contexto pr ctico carezca de inter s o importancia) que rodea y determina la conferencia "Firma, Acontecimiento, Contexto" pronunciada por Jacques Derrida en agosto de 1971 en un congreso cuyo tema era "La comunicaci n". Si bien, por su misma "tesis", un contexto nunca es absolutamente determinable, s parece iluminador ( e incluso tico , al decir de Derrida) un recorrido por algunos de los "textos preparatorios" de dicha conferencia. "Firma, Acontecimiento, Contexto" es seguramente el art culo derridiano que m s r os de tinta ha hecho correr en virtud de su amplia recepci n en el mbito de la filosof a de habla inglesa. Sin embargo, parece ser un texto que, tras muchos a os, sigue sin haberse le do. Al respecto es destacable, como escribe Culler, "la egregia malinterpretaci n de John Searle", que ha influido decisivamente en gran parte de la cr tica, sobre todo de corte anglosaj n (tambi n en Europa), de la obra de Derrida. Y ello no tanto quiz s por sus argumentos (que realmente "objetan" tesis inexistentes) como por su tono furioso y despectivo. Lamentablemente, hoy d a no es infrecuente, en las escasas ocasiones en que "Derrida" aparece en un debate filos fico, o incluso sin que su nombre sea invocado, escuchar expresiones como "Eso es derridada smo" o "Eso es una derridada". Por ello, aspiramos a que este trabajo aporte su grano de arena ayudando, en general, a una mayor comprensi n de la filosof a derridiana y, en particular, a una lectura m s fruct fera (al menos en los aspectos que acentuamos) de un texto que, en todo caso, constituye una buena "puerta de acceso" al pensamiento del profesor de origen argelino. No obstante, a partir de esta base y con una mayor profundidad investigadora, se trata en este ensayo de explicitar en la medida de lo posible (esto es, sin falsas facilidades) c mo deber a entenderse la comunicaci n a la luz de la filosof a derridiana. Dicho tema revela su importancia si tenemos en cuenta que desde mediados del siglo XX existe una notoria convergencia entre los diversos planteamientos filos ficos en torno a la tesis seg n la cual, la estructura de aquello que llamamos "racional" o "verdadero" es de car cter comunicativo. As , por ejemplo, la hermen utica de H.G. Gadamer, fundada sobre principios fenomenol gicos que surgen a comienzos de siglo bajo una forma "monol gica" (Husserl), ha pretendido aclarar el sentido de la historia y de la comprensi n humana del mundo como una forma de "di logo interpretativo". La intersubjetividad es tambi n el concepto fundamental sobre el cual se erige la autoproclamada nueva Ilustraci n (Habermas, Apel), una corriente que intenta reconstruir el concepto de Logos desde el de "di logo argumentativo". Asimismo, el giro ling stico en el que se amparan ambas tendencias ha generado, por su lado, l neas de pensamiento que subrayan la dimensi n pragm tico-comunicativa como clave de la ling isticidad y, por tanto, del pensamiento. En esa direcci n discurren las concepciones arraigadas en el "segundo Wittgenstein" y en la teor a de los "actos de habla". Por todo ello, creemos que situar la comunicaci n dentro del espacio del "pensamiento de la huella" derridiano puede ser una tarea inicial muy fruct fera a la hora de establecer un debate entre, por un lado, aquellas concepciones de la comunicaci n que, adelantamos, tienen en la homogeneidad su axioma y/o su ideal (en ocasiones inconfeso) y, por otro lado, un pensamiento de la "escritura" que obedece, por as decir, a un "principio de discontinuidad". Podr a ser ste, quiz s, un paso adelante en el establecimiento de lo que Derrida propone llamar un espacio "pragramatol gico", esto es, "el espacio de un an lisis indispensable" en la juntura de una pragm tica y de una gramatolog a" (...). Una pragramatolog a (por venir) a
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Triangulating Édouard Glissant, Jacques Derrida, and Albert Memmi

Triangulating Édouard Glissant, Jacques Derrida, and Albert Memmi

Grant Farred; Sophia Jahadhmy; Alex van Biema

BLOOMSBURY PUBLISHING PLC
2026
sidottu
This book uses Édouard Glissant’s concept of the transfer and the transplant to examine Jacques Derrida and Albert Memmi’s distinctive relationships to French colonialism. Both the transfer and the transplant undertake the work of reconciling oneself with the place of first habitation, the process of dislocation, and the new place of habitation. In Glissant’s definition, the transplant makes an effort to maintain the culture of first place of habitation, while the transfer attempts to form a relationship with the new place of habitation. The essays featured in this volume designate Memmi, the Tunisian, as the transplant while Derrida, the Algerian, struggles with the difficulties of the transfer. By engaging with the work of these three figures, this book presents a triangulation of Mediterranean-Atlantic-metropolitan French philosophical thought.
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Zwischen Glauben Und Vernunft: Letztbegründungsstrategien in Der Auseinandersetzung Mit Emmanuel Levinas Und Jacques Derrida

Zwischen Glauben Und Vernunft: Letztbegründungsstrategien in Der Auseinandersetzung Mit Emmanuel Levinas Und Jacques Derrida

Lotz Carsten; Carsten Lotz

Brill Schoningh
2008
nidottu
Weite Teile der katholischen Dogmatik und Fundamentaltheologie dieser Tage sind in nicht unerheblichem Ma e von dem gepr gt, was man 'Letztbegr ndung' nennen k nnte. Diese Denkrichtung sucht- in der Tradition der Aufkl rung und des deutschen Idealismus - nach letzten, philosophisch ausweisbaren Gr nden f r die Glaubensinhalte der katholischen Theologie. Der Autor zeichnet Thomas Pr ppers, Hansj rgen Verweyens und Klaus M llers Ang nge nach und pr ft, ob ihr Anspruch auf einen letztg ltigen Sinn gelingen kann. Die Lekt re ausgew hlter Texten von Emmanuel Levinas und Jacques Derrida l sst erhebliche Zweifel am Erfolg einer Letztbegr ndung aufkommen. Dar ber hinaus gibt ein Durchgang durch lehramtliche und biblische Texte zu bedenken, ob ein solcher Anspruch theologisch berhaupt erhoben werden muss. Gilt nicht auch und gerade nach der philosophischen Aufkl rung: "Mein Angesicht kannst Du nicht sehen. Nicht sieht mich der Mensch und lebt." (Ex 33,20)?
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Repetition, Difference, and Knowledge in the Work of Samuel Beckett, Jacques Derrida, and Gilles Deleuze

Repetition, Difference, and Knowledge in the Work of Samuel Beckett, Jacques Derrida, and Gilles Deleuze

Sarah Gendron

Peter Lang Publishing Inc
2008
sidottu
Repetition, Difference, and Knowledge dialogues with novels, theatre, philosophy, and literary theory in order to explore how three thinkers – Samuel Beckett, Jacques Derrida, and Gilles Deleuze – employ repetition as a means with which to radically unsettle some of the most fundamental notions of the human experience (among them, time, presence, originality, and being). Due to its interdisciplinary scope and its focus on repetition as an epistemological concept, this book will attract a broad audience of academic specialists across the humanities from the fields of literary criticism, philosophy, French studies, and poststructural studies. Its simplicity of style, deliberate avoidance of complex jargon, and clarity of argument – particularly when dealing with complicated theoretical ideas and texts – also makes it an invaluable tool for use in both graduate- and undergraduate-level literature and philosophy courses. Repetition, Difference, and Knowledge provides experienced and beginning scholars alike with greater insight into the works of Beckett, Derrida, and Deleuze and into the role that repetition has played and continues to play in determining how we read our world and come to meaning.
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Thinking Out of Sight

Thinking Out of Sight

Jacques Derrida

University of Chicago Press
2021
sidottu
Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks. The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.
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The Problem of Genesis in Husserl's Philosophy

The Problem of Genesis in Husserl's Philosophy

Jacques Derrida

University of Chicago Press
2003
sidottu
Derrida's first book-length work, "The Problem of Genesis in Husserl's Philosophy", was originally written for his "diplome d'etudes superieurs" in 1953 and 1954. Surveying Husserl's major works on phenomenology, Derrida reveals what he sees as an internal tension in Husserl's central notion of "genesis" and gives us our first glimpse into the concerns and frustrations that would later lead him to abandon phenomenology and develop his now famous method of deconstruction. For Derrida, the problem of genesis in Husserl's philosophy is that both temporality and meaning must be generated by prior acts of the transcendental subject, but transcendental subjectivity must itself be constituted by an act of genesis. Hence, the notion of genesis in the phenomenological sense underlies both temporality and atemporality, history and philosophy, resulting in a tension that Derrida sees as ultimately unresolvable yet central to the practice of phenomenology. "The Problem of Geneses" complements Husserl's posthumously published "Origin of Geometry" and Derrida's own "Speech and Phenomena", showing the development of Derrida's approach to phenomenology as well as documenting the state of phenomenological thought in France during a particularly fertile period, when Levinas, Sartre, Merleau-Ponty, Ricoeur and Tran-Duc-Thao, as well as Derrida, were all working through it. But the book is most important in allowing us to follow Derrida's own development as a philosopher by tracing the roots of his later work in deconstruction to these early critical reflections on Husserl's phenomenology.
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The Post Card

The Post Card

Jacques Derrida

University of Chicago Press
1987
nidottu
17 November 1979You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean to happen, to arrive, to have to happen or arrive, to let or to make happen or arrive, to destine, to address, to send, to legate, to inherit, etc., if it all still signifies, between here and there, the near and the far, da und fort, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself.J. D."With The Post Card, as with Glas, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel (the long section is called "Envois," roughly, "dispatches" ), he stages his writing more overtly than in the scholarly works. . . . The Post Card also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, Library Journal
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Margins of Philosophy

Margins of Philosophy

Jacques Derrida

University of Chicago Press
1984
nidottu
"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger—each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book—a source of true illumination for those prepared to follow his arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."—Alexander Gelley, Library Journal
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