In it we find Derrida at work on his systematic deconstruction of Western metaphysics.
Ideas such as God, freedom, immortality, the world, first beginning, and final end have only a regulative function for knowledge, since they cannot find fulfilling instances among objects of experience. With Hegel, the immediacy of the subject-object relation itself is shown to be illusory.
So-called immediate perception therefore lacks the certainty of immediacy itself, a certainty that must be deferred to the working out of a complete system of experience. However, later thinkers point out that Hegel's logic pre-supposes concepts, such as identity and negation see Hegelwhich cannot themselves be accepted as immediately given, and which therefore must be accounted for in some other, non-dialectical way.
The later nineteenth century is the age of modernity as an achieved reality, where science and technology, including networks of mass communication and transportation, reshape human perceptions.
There is no clear distinction, then, between the natural and the artificial in experience. Indeed, many proponents of postmodernism challenge the viability of such a distinction tout court, seeing in achieved modernism the alan bass writing and difference jacques of a problem the philosophical tradition has repressed.
A consequence of achieved modernism is what postmodernists might refer to as de-realization. De-realization affects both the subject and the objects of experience, such that their sense of identity, constancy, and substance is upset or dissolved. Important precursors to this notion are found in Kierkegaard, Marx and Nietzsche.
In this sense, society has become a realization of abstract thought, held together by an artificial and all-pervasive medium speaking for everyone and for no one.
In Marx, on the other hand, we have an analysis of the fetishism of commodities Marx— where objects lose the solidity of their use value and become spectral figures under the aspect of exchange value. Their ghostly nature results from their absorption into a network of social relations, where their values fluctuate independently of their corporeal being.
Human subjects themselves experience this de-realization because commodities are products of their labor. Workers paradoxically lose their being in realizing themselves, and this becomes emblematic for those professing a postmodern sensibility.
However, with the notion of the true world, he says, we have also done away with the apparent one. What is left is neither real nor apparent, but something in between, and therefore something akin to the virtual reality of more recent vintage.
The notion of a collapse between the real and the apparent is suggested in Nietzsche's first book, The Birth of Tragedy Nietzschewhere he presents Greek tragedy as a synthesis of natural art impulses represented by the gods Apollo and Dionysus.
Where Apollo is the god of beautiful forms and images, Dionysus is the god of frenzy and intoxication, under whose sway the spell of individuated existence is broken in a moment of undifferentiated oneness with nature.
While tragic art is life-affirming in joining these two impulses, logic and science are built upon Apollonian representations that have become frozen and lifeless.
Hence, Nietzsche believes only a return of the Dionysian art impulse can save modern society from sterility and nihilism. This interpretation presages postmodern concepts of art and representation, and also anticipates postmodernists' fascination with the prospect of a revolutionary moment auguring a new, anarchic sense of community.
In order to be responsible we must assume that we are the cause of our actions, and this cause must hold over time, retaining its identity, so that rewards and punishments are accepted as consequences for actions deemed beneficial or detrimental to others Nietzsche;, Thus logic is born from the demand to adhere to common social norms which shape the human herd into a society of knowing and acting subjects.
In this text, Nietzsche puts forward the hypothesis that scientific concepts are chains of metaphors hardened into accepted truths. On this account, metaphor begins when a nerve stimulus is copied as an image, which is then imitated in sound, giving rise, when repeated, to the word, which becomes a concept when the word is used to designate multiple instances of singular events.
Conceptual metaphors are thus lies because they equate unequal things, just as the chain of metaphors moves from one level to another. On Nietzsche's view, the life of an individual and a culture depend upon their ability to repeat an unhistorical moment, a kind of forgetfulness, along with their continuous development through time, and the study of history ought therefore to emphasize how each person or culture attains and repeats this moment.
There is no question, then, of reaching a standpoint outside of history or of conceiving past times as stages on the way to the present.
Nietzsche presents this concept in The Gay Science Nietzsche ,and in a more developed form in Thus Spoke Zarathustra Nietzsche —, — Many have taken the concept to imply an endless, identical repetition of everything in the universe, such that nothing occurs that has not already occurred an infinite number of times before.Margie Adam, Songwriter () The "women's music" movement of the 70s produced a number of artists who rose above the stereotype of mild-mannered, piano-playing lesbians singing about unicorns.
Writing and Difference.
Jacques Derrida Writing and Difference Translated, with an introduction and additional notes, by Alan Bass London and New York.
First published by Éditions du Seuil This translation ﬁrst published in Great Britain by Routledge & Kegan Paul Ltd. Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, ). First published in , Writing and Difference, a collection of Jacques Derrida’s essays written between and , has become a landmark of contemporary French thought.
Jacques Derrida (–) was the founder of “deconstruction,” a way of criticizing not only both literary and philosophical texts but also political institutions.
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First published in , Writing and Difference, a collection of Jacques Derrida's essays written between and , has become a landmark of contemporary French thought. In it we find Derrida at work on his systematic deconstruction of Western metaphysics.4/5.