By Michael Naas
During this quantity the writer specializes in how the paintings of Derrida has helped remodel the topics of culture, legacy and inheritance in Western philosophy. It comprises readings of Derrida's texts that display the claims he makes can't be understood with no contemplating the best way he makes these claims.
A given take : the platonic reception of Plato within the pharmacy --
Given time for a detour : the abyssal reward of Khora --
Stumping the sunlight : the odyssey of metaphor in "white mythology" --
Derrida's watch/Foucault's pendulum : a last impetus to the cogito debate --
Lacunae : divining Derrida's assets via "telepathy" --
The phenomenon in query : violence, metaphysics, and the Levinasian 3rd --
Better believing it : translating skepticism in memoirs of the blind --
Just a draw back : apostrophe and the politics of friendship --
Hospitality as an open query : deconstruction's welcome politics --
Passing at the mantle : Elijah's Glas and the second one coming of Dr. John Alexander Dowie.
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Example text
But there seems to be some confu sion here-a confusion that is perfectly telling-about what is the sign of what. Odysseus says that a "great token [sema] is wrought in the fashioned bed," while Penelope is said to have melted when she knew, or had revealed to her, the sure signs [semata], those that Odysseus, it seems, had just re counted. Is the anchored bedstead the sign, or is the story about the bed stead the sign, or the signs? If the latter, what would ever make these signs sure if they were simply the signs of narrative-signs that could be mimed, imitated, stolen, inspired by the gods, made into instruments of deception?
Would not such a giving or be read as the other of the binary logic of logos and philosophy: "myth thanking reveal that we have in fact understood nothing at all ofVernant's puts in play a form of logic which could be called-in contrast to the logic teaching, that we have merely reinscribed the traditional notions of giving of noncontradiction of the philosophers-a logic of the ambiguous, of the and receiving, mythos and logos, that Vernant had supposedly helped us equivocal, of polarity" rethink?
For unlike the example of the bedpost that would refer to a present sap within or before all artifice, the stubble of old age refers not to some youth still present, not even potentially, nor to some youth once present but now lost, but to "something new," "something fresh," "by means of the general notion of 'lost bloom' which is common to both" ("WM," 238-39). But could one ever grasp such a notion-itself expressed here through metaphor-detached from any particular signifiers? Does not the very notion of "lost bloom" depend on a difference between past and present, what is absent and what is present?