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ߵ(Jacques Derrida)ѧҡڿˡ˼ʼڷ̴ѧȽά(Vladimir Jankelevitch)䣺ˡҰˡȽάڡʱЧԼһΪסгԽҪáΪ˲ܿˡܿˡ»ˡ(ɴ⼯Ӫ)Գ߶ȷΧˡͲپ塣ˡܺ˵ȥȥٴڡҲΪˣԭµ¹ˡʹһ죺ǵģĿˡѾȥΪĿˡҲͨΪĿܵĿˡǣˡڱòʱǡǡΪܣҲֻеͨϱɲʱ¾壬Ǿǣˡɿˡġ
ˡζˡԿˡģͲǿˡΪˡǣĿˡƵϿˡô?ˣˡǷģûκĿĵġ⣬ǿˡԣѵǣDzܵġΪ˵һ۵㣬ӡһһλڱʧȥɷϷǺ˸ŮʾȨˡֻܺԼֻܺ߿ԿǿˡijԶȱϯˣ˭ȨߵˡǹԵȨ
ԿΪ˵ʵʩһȨıձԸΪȥǸ֮١һǸôձûйҪˡһЩϷ硰Ǹ֮ࡣǣǸˡءѵձĻвڿˡյĹ۵ۣĻǹģʵõģµġѧѧĽǶֿ̽ˡ⣬Դ˶Եļ⣬һ֪ʶӡ
֣ķεDzá߽˿࣬20002¼ǡ̳Ľۿˡ⡣ˡǷ?ˡɲǼΪεĺʷΪ?ſˡԭϣˡûнޣûȣûʶȣûеĶΪֹ⡣ȻǶֵıйʶȻʲôǡˡ?ˡʲô?˭Ҫˡ?˭ˡ?ˡͬѡ
¼ԭҪ˵1ģرڽʹʱȴ͵αģǾʱ⽫ˡƵĴǸź⡢ʱЧԵȵȻЩڷɵķΧһ̷ķ룬ԭϣˡ̷ͬɡ2ۿˡôأͼϵij桢㶼һڽŲ(Ϊ˽̡̫̺˹̶Dz)ӶѾֻͻĴͳͨijЩˡıݶͬһ3ˣһ廯ĹУˡĽԽԽģҹڿˡ(α)Ľ֮һ
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౻һµĻ˻ͻȻءϷԵسһСࡱĶʵǷԼСǿʼˡйȥµķϾͲһˡҲͲٴڷˡе˶Ǽ̳ߣЩӸϣIJĥؾܹ˻¼ļ̳ߡʱЩ֯IJп¼ʹɱǸĺϷĴǡǡҲǴʹȨȹIJ
ǴпһĽһʷԵı仯һȻģĸ(߶ǡ)ǶܲʵһȻԵԿˡΧǡˡṩԴϷԡϷǵʵίԱΪǶһģҲƻƶѣǰмίԱϷԵϹŵĶ塰˵ľν콫γһģʽʵϵġȫ绯
ΪĸߣֻںֱȿˡΪߵ㣻˵ʥܹԼΪһ绤(һ£ûбȷ뷴Ȩ)һʥʥڽ̵Dzʽ̫ǻ̵ڹҵδġƵġ壻ӴԺǶߵʥԵķǶ˵ʥԣϵ(ע)ϵϵ֮˵ʥԵķ(˵ϵ۵ͬ)ôˡ绯һľھ磬һĻƵľ--Ǫ꣬һֲҪ̽õĽ̻ᵽһԽмͳ(DzĻѧģȷе˵˹ʥĻ)ΪʲôڽԼǿӸЩŷʥԴĻ?뵽ijձȥıΪйˡȻ˵ʾĵĵǸȲܰѹʾȥһԶǸΪ
ձ뺫һġҵʽ̸У漰⳥Լξ÷¶λЩףּںͽ(һʼ)ڹϵضĿĵĿˡʲôǣǴģǹġ硣ˣð⣺ˡֻҪΪһĿķĿĶôжô(Ȼͽ⣬)ֻҪּڽһ(ģҵģεģ)ôˡͲٴ⣬ˡһ
ˡǣҲӦģģġӦ쳣ģصģܵģͺöʷʱͨһˣӦĽǶȥν绯ҳ֮ΪԱʶ̻Ӱ졣һӰɼԣҶνعڽ̡ڹ͡ûκγħκֹǡǡ෴Ҫˡĸ֪ؿһ̬غƽˡҿвˡԴڡѵΩһҪˡ?ΩһҪˡ?ֻȥˡЩԿˡ£̻νôˡһ˼뱾ʧˡ˵ʲôҪˡĻӦǣڽ̵˵صDzˡ
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ˡʲô?һУһһΪһʱ?ûﷸﷸDzɾҩġˡ˭ô?ôڹʱνﷸ֮;Բٴڽ?ںһ(ˡ˭)£ܺߣһϵ֤ˣϵۣǸҪˡ()ԱԼҲõˡϵۣˡ?(̻ϵˡȴֱ˻ڹǰ̫ܺΪ֤ˡֻ֤ǰڹϣϵˡ)
ЩشԽۡһ£ﷸڹˡĹ£ԭﷸ£ҿˡ£ƵϿˡô?˵Կˡˡ˵Ҳ̫ˣ˿ˡIJﷸһˡˡѵӦ෴?ˡﷸԭӡIJDzɾҩĶǻˡط죬ƣڹûϣ?ѵDzӦʹˡʱô?ǣѵӦȥˡɿˡ»˶κô?ѵһԲӦĶڹˡǵļ̳Сô?ľԴԵù֡Ż쳣
˵Ϊˡ쳣ģôӦDzܵ쳣ųܻȡʸֻԲڶͻȻϮʷΡɵȻ̡ζţˡճλָͬʡԶܣڿˡƽĴϽλɡˣ̸εΧˡˡһʡٱϿɵ̸УõЭ˵ǿԼٶءЩЭܿԵúܸСԡͽ⡱壬֡Ƥ˶ֱڶδսսڼʹãΪĨȥʷϵծСڷξͨʹͬһͨŬﵽͽ⣬ؽҵŽᡣ
Ƕδսй쵼˵һ⡣ȫЩ˵1951̳ϴ֮Ե¹ռڼʩдҪáһϣҼǵһϿӷҮ(Cavaillel)˵ʱΪԱͶƱͨ1951귨˵롰֪ȴҼӷҮرǿΣձΪȡȫһзʿЩ˼ǰǵ¹ߣٱϵɷֵֻϴų硣ؽŽᣬζװеͶսһǺƽʱڻսʱڡڵ̬£һսϵ㣬ԶҪЩǵķ֮С˵ȫͽ⡱ǴֵһλصϣͷͳһͳһԷݽʱȷ
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Ǵּȵìܵó𣿽ٲʹüǵĿˡ˼塪ȡ߽ĻǺ䲻ͬʵһϵڹָɷ룬дʷɡΡ汾֮ǰDzͬʵģԼġȻDzɷģ룬ҪˡΪʵЧģģʷԵģͨҪ٣ôӦһϵ(ѧģεģȵ)м˿ˡĴԡоζӦڲɵͶֲɷ֮ǣеĻѿˡΪΪʱЧΪɥ»ijֺͽƷ֮Ϊijʷ̬ǶԶǣһĴˡ˼أûкߣ˵Щûκ塣ʹ⡰塱øӵģȻҸղһ㣺ģĿˡҪʹˡĺ壬ǾͲӦκ壬κĿģκһֲԵķӦѭۻѡƵȨһӣͨˡı˾Ρɡ²ͬʣȷʵˡڸ¶ӦһԵ⣬ôرij⣬ȨѧͳΪȨָǷɷΧڵһַȨڷ֮ϵȨʥȨһﷸԹҵ壬ʩһֳԽкͷɵĿˡǷ֮ϵȨһȨҲΪ̳Сִң編ȨѾ(ʻڽ̴ͳĻʵȻһͳȴΪѾ֮)ңӶˣͳݳ(ˡʴ)ȨÿһʱǶʥģڽʽķԣϵۻϵ۵˼ݡ⡪Ȩ֮УҪһɷΧڵĶڷɵⱻ˾εĶ֮Сֵȫһ֧뷨ɵʵʩʹ֮ͨһƵijԽԭƱǰ߶ںİģ⡣²ȨԭߣߣҲ֡ΣգרϣҪȨȣԷֹȵIJͳֻڵ(ͨ-ɣιҺҵı֤)ʱܿˡ
ǰ˵ĺڸɿˡǷԸˡȨԿˡǺڸ˵ľ̾ⲻɿˡֻⲻɿˡǾȨȥˡģֻȨġҲһжصľ屻ʱ־Ե⣬κα£ֻ볼йأҲ˵Ȩܹʵʩʵϣ֪ģȨĽͻеģӸ˵(ԼĻԼ˵ģְܷ)ҵ档ֶһӡκˣ̡ȴȨⳤΪֲ幤Щ͵˲ϵطһԵȨͳԴЭϣֶһŦԼIJѡ֪Ƕ൱ࡣȨرֵ͵дֳܷԽɣˣȴڶֲָԸ壬ĹϵǻǿΪȨˡıҪҲ˵ˡֻӦڱ֤رԵ£صķʽУˡơᡢŲһߣձƼءһȫûĿˡǷ?һ벻ijһԻԣڴ塢ںǡϵȷ涼һ¡ͬѾͲһʽܺ뷸ûκιͬԣûκιͬĻձĶʹǻ⣬ˡƺûˣ漰ԵIJɿˡǰ˵ˡIJǡǡìܵǿˡɿܵءˡбһʶʣ֪˭˭ȵȡѲ̫ܡΪһ֡ʶһʶκη涼СʵͬҴɥУ˵Ʒڷ֮еʱһжˡһĿˡҲӦʶ֣ҷƭȥȷȨǴˡӦʲôأûзô֪˭ˡ˭˭ˡʲô?⣬Ǹղ˵йʶ˭ˣ˭ȣѾ൱ˣ෴Ҳͬͬʱԣ𣬲ԣ⡣ˣˡǷģӦѵس˷ԵҹСʶʶСһܺߡ⡱ˣһܺ˵ˣͽ̱㿪ʼˡͽⳡͬڵƽĿˡһУǿˡҶԭµ˵Ҳˡ㡱ҲңʱͽĽ̿ʼ߽룬ȻĿˡҲ군ˡ(δ)
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- Re: 德里达:世纪与宽恕posted on 10/14/2004
һ㶼ǶģƪҲõʱϸϸܷԡ - posted on 10/14/2004
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ֶԽĺdzdzǣһȷˣôͻᷢԭǼ֮
ҲڷĺܷңŪѧݳƷĿڷĻijǺʵģԷչйңйһЩǿȨֱŪЩһĶӣʡ
AdagioɲΪƪƷЩʷǰĹʦǣҲʹúˣֻú
ԼȹһϵȻҵڣˣŪһĿʵҪʱڰдʽܽеˡ龰ƶŮܲ˵ҵ߶һʽ֤ϵ۴ڣҵǡܽƻҲôʵ뿪йɡ
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Ϊʲôҿԭ˹˵⣬˼ʮ˼й˵һͨ
- posted on 10/14/2004
öѧߺѧڶǩ顣
Ҿдúܵλ
"The trouble with reading Mr. Derrida is that there is too much perspiration for too little inspiration."
ǺԭӢĻǺܺģGodzilla<->Derrida.
Jacques Derrida Abstruse Theorist, Dies at 74
October 10, 2004 NY Times
By JONATHAN KANDELL
Jacques Derrida, the Algerian-born, French intellectual who became one of the most celebrated and notoriously difficult philosophers of the late 20th century, died Friday at a Paris hospital, the French presidents office announced. He was 74.
The cause of death was pancreatic cancer, according to French television,The Associated Press reported.
Mr. Derrida was known as the father of deconstruction, the method of inquiry that asserted that all writing was full of confusion and contradiction, and that the authors intent could not overcome the inherent contradictions of language itself, robbing texts - whether literature, history or philosophy - of truthfulness, absolute meaning and permanence. The concept was eventually applied to the whole gamut of arts and social sciences, including linguistics, anthropology, political science, even architecture.
While he had a huge following - larger in the United States than in Europe -he was the target of as much anger as admiration. For many Americans, in particular, he was the personification of a French school of thinking they felt was undermining many of the traditional standards of classical education, and one they often associated with divisive political causes.
Literary critics broke texts into isolated passages and phrases to find hidden meanings. Advocates of feminism, gay rights, and third-world causes embraced the method as an instrument to reveal the prejudices and inconsistencies of Plato, Aristotle, Shakespeare, Freud and other "dead white male" icons of Western culture. Architects and designers could claim to take a "deconstructionist" approach to buildings by abandoning traditional symmetry and creating zigzaggy, sometimes disquieting spaces. The filmmaker Woody Allen titled one of his movies "Deconstructing Harry,"to suggest that his protagonist could best be understood by breaking down and analyzing his neurotic contradictions.
A Code Word for Discourse
Toward the end of the 20th century, deconstruction became a code word of intellectual discourse, much as existentialism and structuralism - two other fashionable, slippery philosophies that also emerged from France after World War II - had been before it. Mr. Derrida and his followers were unwilling - some say unable - to define deconstruction with any precision, so it has remained misunderstood, or interpreted in endlessly contradictory ways.
Typical of Mr. Derridas murky explanations of his philosophy was a 1993 paper he presented at the Benjamin N. Cardozo School of Law, in New York, which began: "Needless to say, one more time, deconstruction, if there is such a thing, takes place as the experience of the impossible."
Mr. Derrida was a prolific writer, but his 40-plus books on various aspects of deconstruction were no more easily accessible. Even some of their titles - "Of Grammatology," "The Postcard: From Socrates to Freud and Beyond," and "Ulysses Gramophone: Hear Say Yes in Joyce" - could be off-putting to the uninitiated.
"Many otherwise unmalicious people have in fact been guilty of wishing for deconstructions demise - if only to relieve themselves of the burden of trying to understand it," Mitchell Stephens, a journalism professor at New York University, wrote in a 1994 article in The New York Times Magazine.
Mr. Derridas credibility was also damaged by a 1987 scandal involving Paul de Man, a Yale University professor who was the most acclaimed exponent of deconstruction in the United States. Four years after Mr. de Mans death, it was revealed that he had contributed numerous pro-Nazi, anti-Semitic articles to a newspaper in Belgium, where he was born, while it was under German occupation during World War II. In defending his dead colleague, Mr.Derrida, a Jew, was understood by some people to be condoning Mr. de Mans anti-Semitism.
A Devoted Following
Nonetheless, during the 1970s and 1980s, Mr. Derridas writings and lectures gained him a huge following in major American universities - in the end, he proved far more influential in the United States than in France. For young, ambitious professors, his teachings became a springboard to tenure in faculties dominated by senior colleagues and older, shopworn philosophies.For many students, deconstruction was a right of passage into the world of rebellious intellect.
Jacques Derrida was born on July 15, 1930, in El-Biar, Algeria. His father was a salesman. At age 12, he was expelled from his French school when the rector, adhering to the Vichy governments racial laws, ordered a drastic cut in Jewish enrollment. Even as a teenager, Mr. Derrida (the name is pronounced day-ree-DAH) was a voracious reader whose eclectic interests embraced the philosophers Jean-Jacques Rousseau and Friedrich Nietzsche,Albert Camus, and the poet Paul Valry.
But he could be an indifferent student. He failed his baccalaureate in his first attempt. He twice failed his entrance exam to the École Normal Suprieure, the traditional cradle of French intellectuals, where he was finally admitted in 1952. There he failed the oral portion of his final exams on his first attempt. After graduation in 1956, he studied briefly at Harvard University. For most of the next 30 years, he taught philosophy and logic at both the University of Paris and the École Normal Suprieure. Yet he did not defend his doctoral dissertation until 1980, when he was 50 years old.
By the early 1960s, Mr. Derrida had made a name for himself as a rising young intellectual in Paris by publishing articles on language and philosophy in leading academic journals. He was especially influenced by the German philosophers, Edmund Husserl and Martin Heidegger. Both were strong critics of traditional metaphysics, a branch of philosophy which explored the basis and perception of reality.
As a lecturer, Mr. Derrida cultivated charisma and mystery. For many years, he declined to be photographed for publication. He cut a dashing, handsome figure at the lectern, with his thick thatch of prematurely white hair, tanned complexion, and well-tailored suits. He peppered his lectures with puns, rhymes and enigmatic pronouncements, like, "Thinking is what we already know that we have not yet begun," or, "Oh my friends, there is no friend..."
Many readers found his prose turgid and baffling, even as aficionados found it illuminating. A single sentence could run for three pages, and a footnote even longer. Sometimes his books were written in "deconstructed" style. For example, "Glas" (1974) offers commentaries on the German philosopher Georg Wilhelm Friedrich Hegel and the French novelist Jean Genet in parallel columns of the books pages; in between, there is an occasional third column of commentary about the two mens ideas.
"The trouble with reading Mr. Derrida is that there is too much perspiration for too little inspiration," editorialized The Economist in 1992, when Cambridge University awarded the philosopher an honorary degree after a bruising argument among his supporters and critics on the faculty. Elsewhere in Europe, Mr. Derridas deconstruction philosophy gained earlier and easier acceptance.
Shaking Up a Discipline
Mr. Derrida appeared on the American intellectual landscape at a 1966 conference on the French intellectual movement known as structuralism at Johns Hopkins University, in Baltimore. Its high priest was French anthropologist Claude Lvi-Strauss, who studied societies through their linguistic structure.
Mr. Derrida shocked his American audience by announcing that structuralism was already pass in France, and that Mr. Lvi-Strausss ideas were too rigid. Instead, Mr. Derrida offered deconstruction as the new, triumphant philosophy.
His presentation fired up young professors who were in search of a new intellectual movement to call their own. In a Los Angeles Times Magazine article in 1991, Mr. Stephens, the journalism professor, wrote: "He gave literature professors a special gift: a chance to confront - not as mere second-rate philosophers, not as mere interpreters of novelists, but as full-fledged explorers in their own right - the most profound paradoxes of Western thought."
"If they really read, if they stared intently enough at the metaphors," he went on, "literature professors, from the comfort of their own easy chairs, could reveal the hollowness of the basic assumptions that lie behind all our writings."
Other critics found it disturbing that obscure academics could presume to denigrate a Sophocles, Voltaire or Tolstoy by seeking out cultural biases and inexact language in their masterpieces. "Literature, the deconstructionists frequently proved, had been written by entirely the wrong people for entirely the wrong reasons," wrote Malcolm Bradbury, a British
novelist and professor, in a 1991 article for The New York Times Book Review.
Mr. Derridas influence was especially strong in the Yale University literature department, where one of his close friends, a Belgian-born professor, Paul de Man, emerged as a leading champion of deconstruction in literary analysis. Mr. de Man had claimed to be a refugee from war-torn Europe, and even left the impression among colleagues that he had joined the
Belgian resistance.
But in 1987, four years after Mr. de Mans death, research revealed that he had written over 170 articles in the early 1940s for Le Soir, a Nazi newspaper in Belgium. Some of these articles were openly anti-Semitic, including one that echoed Nazi calls for "a final solution" and seemed to defend the notion of concentration camps.
"A solution to the Jewish problem that aimed at the creation of a Jewish colony isolated from Europe would entail no deplorable consequences for the literary life of the West," wrote Mr. de Man.
The revelations became a major scandal at Yale and other campuses where the late Mr. de Man had been lionized as an intellectual hero. Some former colleagues asserted that the scandal was being used to discredit deconstruction by people who were always hostile to the movement. But Mr.Derrida gave fodder to critics by defending Mr. de Man, and even using literary deconstruction techniques in an attempt to demonstrate that the Belgian scholars newspaper articles were not really anti-Semitic.
"Borrowing Derridas logic one could deconstruct Mein Kampf to reveal that [Adolf Hitler] was in conflict with anti-Semitism," scoffed Peter Lennon, in a 1992 article for The Guardian. According to another critic, Mark Lilla, in a 1998 article in The New York Review of Books, Mr. Derridas contortionist defense of his old friend left "the impression that deconstruction means you never have to say youre sorry."
Almost as devastating for deconstruction and Mr. Derrida was the revelation,also in 1987, that Heidegger, one of his intellectual muses, was a dues-paying member of the Nazi Party from 1933 to 1945. Once again, Mr.Derrida was accused by critics of being irresolute, this time for failing to condemn Heideggers fascist ideas.
By the late 1980s, Mr. Derridas intellectual star was on the wane on both sides of the Atlantic. But he continued to commute between France and the United States, where he was paid hefty fees to lecture a few weeks every year at several East Coast universities and the University of California at Irvine.
Lifting a Mysterious Aura
In his early years of intellectual fame, Mr. Derrida was criticized by European leftists for a lack of political commitment - indeed, for espousing a philosophy that attacked the very concept of absolute political certainties. But in the 1980s, he became active in a number of political causes, opposing apartheid, defending Czech dissidents and supporting the rights of North African immigrants in France.
Mr. Derrida also became far more accessible to the media. He sat still for photos and gave interviews that stripped away his formerly mysterious aura to reveal the mundane details of his personal life.
A former Yale student, Amy Ziering Kofman, focused on him in a 2002 documentary, "Derrida," that some reviewers found charming. "With his unruly white hair and hawklike face, Derrida is a compelling presence even when he is merely pondering a question," wrote Kenneth Turan in The Los Angeles Times. "Even his off-the-cuff comments are intriguing, because everything gets serious consideration. And when he is wary, hes never difficult for its own sake but because his philosophical positions make him that way."
Rather than hang around the Left Bank cafs traditionally inhabited by French intellectuals, Mr. Derrida preferred the quiet of Ris-Orangis, a suburb south of Paris, where he lived in a small house with his wife,Marguerite Aucouturier, a psychoanalyst. The couple had two sons, Pierre and Jean. He also had a son, Daniel, with Sylviane Agacinski, a philosophy teacher who later married the French political leader Lionel Jospin.
As a young man, Mr. Derrida confessed, he hoped to become a professional soccer player. And he admitted to being an inveterate viewer of television,watching everything from news to soap operas. "I am critical of what Im watching," said Mr. Derrida with mock pride. "I deconstruct all the time."
Late in his career, Mr. Derrida was asked, as he had been so often, what deconstruction was. "Why dont you ask a physicist or a mathematician about difficulty?" he replied, frostily, to Dinitia Smith, a Times reporter, in a 1998. "Deconstruction requires work. If deconstruction is so obscure, why are the audiences in my lectures in the thousands? They feel they understand enough to understand more."
Asked later in the same interview to at least define deconstruction, Mr.Derrida said: "It is impossible to respond. I can only do something which will leave me unsatisfied." - posted on 10/14/2004
ƪһǼߵıʡߵĻж
ȥһЩϵµƽ֮⡪ǶιڱޡʷȷʵĿ֮⡪ڵķûбҪġ
˵ѶҪģֻ˵һʳ⣬עҲصζƣԮõЩǶǵľӣֻвҲѡƣҿܺãܶԣǡɱ족
"Many otherwise unmalicious people have in fact been guilty of wishing for deconstructions demise - if only to relieve themselves of the burden of trying to understand it," Mitchell Stephens, a journalism professor at New York University, wrote in a 1994 article in The New York Times Magazine.
ȻǵɡûбҪ˶бҪΪһεۡ˶ӵä֮ǵƫDz˵һۣ߽ۡ
ʵϵ½ӴһۡҪԽ֮ǽṹɲ֮ǽҲΪˣҲɽֵġ
һϵӣǹõĽ͡roseʲôõ壬ڰͱɵʱǣҲǣԵԼԵģԺŻԣ˵ǻǹ֮ȵȡ
һõ壬һдʻĹܣΪԼʶͶ֮ûй̶ĹϵǣڳʶУֶǶԣ˵ʹͬһһ⣩
й˵ķۣǴԲˣڡ֮д˺ܶࡣ
ЩͬεڹͣѧʷҵԴͷԴͷά˹ĵ˵Ľṹ塣γһ߶ṹĿʼγ֮ǶһֶӦṹɸѡˡǽͽζڽṹֲһδĽϵµıԵۣĻۣԤĽ߽ʷȻкڸζ
ʵǣʵʷлĵͳΪMr. Derrida was known as the father of deconstruction, the method of inquiry that asserted that all writing was full of confusion and contradiction, and that the authors intent could not overcome the inherent contradictions of language itself, robbing texts - whether literature, history or philosophy - of truthfulness, absolute meaning and permanence. The concept was eventually applied to the whole gamut of arts and social sciences, including linguistics, anthropology, political science, even architecture.
ʵǣӦ÷̵ĿѡɬԼӦϵõԺ
ңϵµļɬʹǽӴһЩ˵Уˮ껪ֱˡ磬ңǽͽṹ˫ع̡һĵ2000ǰձҵԭָҲһּֽĽͣȵȡ
˵СȷȻָ֮68һȿëҲˣʹشˡëĽǽṹо٣ƾ£ϵ²˼⣬˾ʮйС˵ǡߡ˷ˣӹϵˡ
پǣϣй˵ķۻǴڽṹΡѧʱ۵Ļ˵Ҫαģ˵ûµĽṹͷϵͳ
˵ЩۻǷdz߳Ҳζģ
- posted on 10/14/2004
߳Щζļطв֮С
ҵݱ̱ıֽѹûߵpungentʴߵַص档
ֻǵĿˡۣ֮˰죬Ҳδ˵ҪҾÿˡôΣ1ʶȥӶϵԼܺߵĿˡ2ܺԸظˡںܶˡ⣬һձԶǵսĸߣ̸ڶݳޡʵ˵һڴڲϾ㹻ˣ˵еطʡԶƽķԹܡܺߵĿˡʥ֮٣ܺ߸˵ѡûԶʵá
ԣߵϷʡܺߵʥ¿ˡʵ塣KάҮ³ͬУһ˶ڼ˼ڸĵļһָ˵ϷʡDzܵģôкαҪ̸۵ڶϵĿˡ̸к壿
µijƪۣҶݵֻǶλϷǸŮĻһίԱһܿˡֻң(һûȴ)һûȥˡ˵ȥˡ˵һμĻʵһҲף˵ϷʡûУڸûУ
Ҳй˽ٵĿˡ - posted on 10/15/2004
˵ڿˡʺͿˡʵʷΪìܣ˵ĿˡǿˡĶ壬ˡͿˡìܡ
ۿݵеʣʵ塣ǣھʱˡǿˡķ桪ɲˡҲˡͱˡȵȡ
ǣΪ˹ۣҪҵĶ㣷Ĵʻ㣻¥˵Ҫɱˡôɱˣɱʻɱ˾ͺһˣûϵµĽˡ
뵽һЩʣͿһ£һĸоǣ˵ûиоڽʱ֣˵ĻDz֪ԣڻDzڵġǣһ棬ֻʱķ֣Ľʱֵģʵ֪ǵȵȡ
оҲڿѷʱĸоܺõĸоǣ⣬ɳȵȡ
лл - posted on 10/15/2004
پǣϣй˵ķۻǴڽṹΡѧ>ʱ۵Ļ˵Ҫαģ˵ûµĽ>ͷϵͳ
żǻԭǻڷѧ̡
ǸߵȷдЩdz˹Ƥ߿ǵķŭҲССʤ
ֵڹ⣬ҲûеĺģôôָӺôֶӣκһ˶ʵͷ֮ϵԣЩԵǶ
ѧ棬һΪң˺ܶЩѧʺްıⷽ棬Ҫ磬ٻһЩѧƤëš
ἰ⣬Ҫлط̵ҲһءǰʱΪдĦҮʲеġֻۡţǶ˵˼룬˼άģʽлҪȾԵľܸǵҰɡ - Re: 这是纽约时报的刻薄评论posted on 10/15/2004
Ϊ̸ˡ±̸֪ˡʺͿˡµӳϵThe old man is just churning flour here, I will make sure I don't read Derrida or any other modern deconstructionists, thus, I may remain ignorant, yet I can still think. :)
Anyway, ллָʱϵƪûϸϸ룬Ҳȷʵеȥһʽܻöܵöࡣ - posted on 10/15/2004
岻ҪȻСݺǺǡ
߸˵˼άΡȷʵû˼·Է̵ѧʡ
ֻ֪̺ѧ֮һҲǴϵ˵ʮͺ֮ϵ÷ޣӵ˵Ҳ۵һԪ˵ҲǷ̵ʡʱ˵Ƕھѧ֮ѧ˵Ҳʤˡ˵Ĵǧ磬һܿ϶˵ǵִڵ˵Ǻܿ϶ģΩҶġЩûлɾķһѧӦһɣ˵ʶۺͱ۵ֹ壿
ʵǺ˼ġľЧӦͷ̵ĿΨ;ͬĿܣҵķЧʧһΩҶһҪȥһҪڡȷָָķ룬Ŀԣ ҲƷ̵ ͬصҲáҲڷһĿԣڶԣﵽַ˼ͱ巴˼ľ;ӲҪǷͽǿ̶ָе塪ǿЦˡ - posted on 10/19/2004
A good one, solid review and comments. I feel I finally started to understand Derrida after this article. Guess I have been busy lately and have missed a lot good stuff on NY times, or elsewhere.
NYTimes: October 14, 2004
What Derrida Really Meant
By MARK C. TAYLOR
Along with Ludwig Wittgenstein and Martin Heidegger, Jacques Derrida, who died last week in Paris at the age of 74, will be remembered as one of the three most important philosophers of the 20th century. No thinker in the last 100 years had a greater impact than he did on people in more fields and different disciplines. Philosophers, theologians, literary and art critics, psychologists, historians, writers, artists, legal scholars and even architects have found in his writings resources for insights that have led to an extraordinary revival of the arts and humanities during the past four decades. And no thinker has been more deeply misunderstood.
To people addicted to sound bites and overnight polls, Mr. Derrida's works seem hopelessly obscure. It is undeniable that they cannot be easily summarized or reduced to one-liners. The obscurity of his writing, however, does not conceal a code that can be cracked, but reflects the density and complexity characteristic of all great works of philosophy, literature and art. Like good French wine, his works age well. The more one lingers with them, the more they reveal about our world and ourselves.
What makes Mr. Derrida's work so significant is the way he brought insights of major philosophers, writers, artists and theologians to bear on problems of urgent contemporary interest. Most of his infamously demanding texts consist of careful interpretations of canonical writers in the Western philosophical, literary and artistic traditions - from Plato to Joyce. By reading familiar works against the grain, he disclosed concealed meanings that created new possibilities for imaginative expression.
Mr. Derrida's name is most closely associated with the often cited but rarely understood term "deconstruction." Initially formulated to define a strategy for interpreting sophisticated written and visual works, deconstruction has entered everyday language. When responsibly understood, the implications of deconstruction are quite different from the misleading clichs often used to describe a process of dismantling or taking things apart. The guiding insight of deconstruction is that every structure - be it literary, psychological, social, economic, political or religious - that organizes our experience is constituted and maintained through acts of exclusion. In the process of creating something, something else inevitably gets left out.
These exclusive structures can become repressive - and that repression comes with consequences. In a manner reminiscent of Freud, Mr. Derrida insists that what is repressed does not disappear but always returns to unsettle every construction, no matter how secure it seems. As an Algerian Jew writing in France during the postwar years in the wake of totalitarianism on the right (fascism) as well as the left (Stalinism), Mr. Derrida understood all too well the danger of beliefs and ideologies that divide the world into diametrical opposites: right or left, red or blue, good or evil, for us or against us. He showed how these repressive structures, which grew directly out of the Western intellectual and cultural tradition, threatened to return with devastating consequences. By struggling to find ways to overcome patterns that exclude the differences that make life worth living, he developed a vision that is consistently ethical.
And yet, supporters on the left and critics on the right have misunderstood this vision. Many of Mr. Derrida's most influential followers appropriated his analyses of marginal writers, works and cultures as well as his emphasis on the importance of preserving differences and respecting others to forge an identity politics that divides the world between the very oppositions that it was Mr. Derrida's mission to undo: black and white, men and women, gay and straight. Betraying Mr. Derrida's insights by creating a culture of political correctness, his self-styled supporters fueled the culture wars that have been raging for more than two decades and continue to frame political debate.
To his critics, Mr. Derrida appeared to be a pernicious nihilist who threatened the very foundation of Western society and culture. By insisting that truth and absolute value cannot be known with certainty, his detractors argue, he undercut the very possibility of moral judgment. To follow Mr. Derrida, they maintain, is to start down the slippery slope of skepticism and relativism that inevitably leaves us powerless to act responsibly.
This is an important criticism that requires a careful response. Like Kant, Kierkegaard and Nietzsche, Mr. Derrida does argue that transparent truth and absolute values elude our grasp. This does not mean, however, that we must forsake the cognitive categories and moral principles without which we cannot live: equality and justice, generosity and friendship. Rather, it is necessary to recognize the unavoidable limitations and inherent contradictions in the ideas and norms that guide our actions, and do so in a way that keeps them open to constant questioning and continual revision. There can be no ethical action without critical reflection.
During the last decade of his life, Mr. Derrida became preoccupied with religion and it is in this area that his contribution might well be most significant for our time. He understood that religion is impossible without uncertainty. Whether conceived of as Yahweh, as the father of Jesus Christ, or as Allah, God can never be fully known or adequately represented by imperfect human beings.
And yet, we live in an age when major conflicts are shaped by people who claim to know, for certain, that God is on their side. Mr. Derrida reminded us that religion does not always give clear meaning, purpose and certainty by providing secure foundations. To the contrary, the great religious traditions are profoundly disturbing because they all call certainty and security into question. Belief not tempered by doubt poses a mortal danger.
As the process of globalization draws us ever closer in networks of communication and exchange, there is an understandable longing for simplicity, clarity and certainty. This desire is responsible, in large measure, for the rise of cultural conservatism and religious fundamentalism - in this country and around the world. True believers of every stripe - Muslim, Jewish and Christian - cling to beliefs that, Mr. Derrida warns, threaten to tear apart our world.
Fortunately, he also taught us that the alternative to blind belief is not simply unbelief but a different kind of belief - one that embraces uncertainty and enables us to respect others whom we do not understand. In a complex world, wisdom is knowing what we don't know so that we can keep the future open.
In the two decades I knew Mr. Derrida, we had many meetings and exchanges. In conversation, he listened carefully and responded helpfully to questions whether posed by undergraduates or colleagues. As a teacher, he gave freely of his time to several generations of students.
But small things are the measure of the man. In 1986, my family and I were in Paris and Mr. Derrida invited us to dinner at his house in the suburbs 20 miles away. He insisted on picking us up at our hotel, and when we arrived at his home he presented our children with carnival masks. At 2 a.m., he drove us back to the city. In later years, when my son and daughter were writing college papers on his work, he sent them letters and postcards of encouragement as well as signed copies of several of his books. Jacques Derrida wrote eloquently about the gift of friendship but in these quiet gestures - gestures that served to forge connections among individuals across their differences - we see deconstruction in action.
Mark C. Taylor, a professor of the humanities at Williams College and a visiting professor of architecture and religion at Columbia, is the author, most recently, of "Confidence Games: Money and Markets in a World Without Redemption."
- posted on 10/20/2004
During the last decade of his life, Mr. Derrida became preoccupied with religion and it is in this area that his contribution might well be most significant for our time. He understood that religion is impossible without uncertainty. Whether conceived of as Yahweh, as the father of Jesus Christ, or as Allah, God can never be fully known or adequately represented by imperfect human beings.
And yet, we live in an age when major conflicts are shaped by people who claim to know, for certain, that God is on their side. Mr. Derrida reminded us that religion does not always give clear meaning, purpose and certainty by providing secure foundations. To the contrary, the great religious traditions are profoundly disturbing because they all call certainty and security into question. Belief not tempered by doubt poses a mortal danger.
As the process of globalization draws us ever closer in networks of communication and exchange, there is an understandable longing for simplicity, clarity and certainty. This desire is responsible, in large measure, for the rise of cultural conservatism and religious fundamentalism - in this country and around the world. True believers of every stripe - Muslim, Jewish and Christian - cling to beliefs that, Mr. Derrida warns, threaten to tear apart our world.
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