Interrupting Derrida by Geoffrey Bennington

By Geoffrey Bennington

Probably the most major modern thinkers in continental philosophy, Jacques Derrida’s paintings maintains to draw heated remark between philosophers, literary critics, social and cultural theorists, architects and artists. This significant new paintings via global well known Derrida pupil and translator, Geoffrey Bennington, offers incisive new readings of either Derrida and interpretations of his work.

Part one units out Derrida’s paintings as an entire and examines its relevance to, and ‘interruption’ of, the normal domain names of ethics, politics and literature. the second one a part of the ebook offers compelling insights into a few vital motifs in Derrida’s paintings, resembling demise, friendship, psychoanalysis, time and endings. the ultimate part introduces trenchant value determinations of alternative influential money owed of Derrida’s work.

This influential and unique contribution to the literature on Derrida is marked through a dedication to readability and accuracy, but additionally by means of a refusal to simplify Derrida’s usually tough thought.


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Extra resources for Interrupting Derrida

Sample text

There would be no prac­ tice, and no institutions of reading, without this opening, and without the remaining open of this opening. ) Any reading at all, however respectful of the text being read (however respectful, that is, o f the way the text reads itself) takes place in this opening, and this is why texts are not m essages, and why the classical concept o f ‘communica­ tion’ is unhelpful in discussing them. It follows that reading has a duty to respect not only the te x t’s ‘wishes’ (the reading of itself m ost obviously program m ed into itself) but also the opening that opens a margin o f freedom with respect to any such wishes, and without which those wishes could not even be registered or recognised.

Shall we not, like archers who have a mark to aim at, be m ore likely to hit upon what is right? If so, we must try, in outline at least, to determ ine what it is, and o f which of the sciences or capacities it is the object. It would seem to belong to the m ost authoritative art and that which is m ost truly the m aster art. g. strategy, economics, rhetoric; now, since politics uses the rest o f the sciences, and since, again, it legislates as to what we are to do and what we are to abstain from , the end o f this science m ust include those of the others, so that this end must be the good for man.

Readers recognise those wishes (traditionally thought o f as the ‘author’s intentions’) only by opening themselves to the opening which consti­ tutes the very readability of the text —however minimal that readability may be in fact —and that readability is, as such, already in excess o f those wishes. A text is a text only as at least minimally readable in this sense, and that means it always can be read differently with respect to the way it would wish to be read. An absolutely respectful relation to a text would forbid one from even touching it.

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