But because me and myself, as you no doubt are well aware, we are going to die, my relation—and yours too—to the event of this text, which otherwise never quite makes it, our relation is that of a structurally posthumous necessity.
Suppose, in that case, that I am not alone in my claim to know the idiomatic code (whose notion itself is already contradictory) of this event. What if somewhere, here or there, there are shares in this non-secret’s secret? Even so the scene would not be changed. The accomplices, as you are once again well aware, are also bound to die.
Stichwörter: philosophy deconstruction
And still the text will remain, if it is really cryptic and parodying (and I tell you that it is so through and through. I might as well tell you since it won’t be of any help to you. Even my admission can very well be a lie because there is dissimulation only if one tells the truth, only if one tells that one is telling the truth), still the text will remain indefinitely open, cryptic and parodying.
Jacques DerridaStichwörter: philosophy deconstruction
To express nostalgia for a childhood we no longer share is to deny the actual significance and humanity of children.
Perry NodelmanStichwörter: innocence childhood deconstruction
Authority seems to be nothing other than the vanishing-point of textuality. And Nature is authority whose textual origins have been forgotten.
Barbara JohnsonStichwörter: deconstruction
The assumption that Derrida always knows what he is talking about is not Derridean.
Timothy MortonStichwörter: post-modernism deconstruction derrida
humanity suffers terribly from the demons it has created over lengths of time.
we learn from nothing that we do. we create religions, heritage, race, traditions, then they all in turn become our stumbling blocks from becoming one. we suffer from the creations of our own inability to interpret history. the only thing we have succeded on is seperation.we are not that different from one another as we think we are. but we are too corrupted to break our deconstruction.
Stichwörter: society nihilism deconstruction
Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us.
The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair.
Stichwörter: literature human-nature essence value deconstruction
Derrida… labels as ‘metaphysical’ any such thought system which depends on an unassailable foundation, a first principle or unimpeachable ground upon which a whole hierarchy of meanings may be constructed. It is not that he believes that we can merely rid ourselves of the urge to forge such first principles, for such an impulse is deeply embedded in our history, and cannot — at least as yet — be eradicated or ignored. Derrida would see his own work as inescapably ‘contaminated’ by such metaphysical thought, much as he strives to give it the slip. But if you examine such first principles closely, you can see that they may always be ‘deconstructed’: they can be shown to be products of a particular system of meaning, rather than what props it up from the outside.
Terry EagletonStichwörter: metaphysics deconstruction derrida binary-oppositions
Certain American uses of deconstruction, Derrida has observed, work to ensure ‘an institutional closure’ which serves the dominant political and economic interests of American society. Derrida is clearly out to do more than develop new techniques of reading: deconstruction is for him an ultimately political practice, an attempt to dismantle the logic by which a particular system of thought, and behind that a whole system of political structures and social institutions, maintains its force. He is not seeking, absurdly, to deny the existence of relatively determinate truths, meanings, identities, intentions, historical continuities; he is seeking rather to see such things as the effects of a wider and deeper history of language, of the unconscious, of social institutions and practices.
Terry EagletonStichwörter: truth language meaning academia deconstruction derrida relativism
Today, Chanel sells nothing other than its griffe; the griffe is an absolute symbol for 'fashion' which, having become historical, is now able to sell this history better than it could sell fashion. Chanel's lasting success proves that fashion has become self-referential: the fetish of the mere name shows how it has begun to revolve around itself. The House of Chanel produces what Coco most abhorred: a thing of the past, dead. The visible, outwardly displayed griffe has become the opposite of individualized style: instead it confirms the latent uniform collectivity, which had always defined Chanel-wear; in the end, it signifies membership of an expensive club. The Chanel woman does not want to display her own taste, she wants to belong. In order to be certain, she is laden with Chanel signs and accessories, like amulets to protect against the evil eye; on the pocket, on the belt, on the dress buttons, on the watch, on costume jewelry, proudly stand the initials of the founder of the house, to which she knows she belongs.
Barbara VinkenStichwörter: fashion destruction taste deconstruction chanel griffe
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