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16 de may. de 2024 · La articulación entre muerte y escritura, como sostenía el filósofo Jacques Derrida, ... Nada más, de Marguerite Duras (Editorial Periférica). Sobre la firma. Luis Diego Fernández.
Hace 2 días · Jesús Ferrero. Y fue así como se dedicaron a destruir todo el moralismo de la izquierda, toda la ideología del esfuerzo y el combate, convirtiéndose en representantes de la izquierda del ...
8 de may. de 2024 · Broadly conceived, for Derrida ideas of justice in relation to truth and sincerity are necessary to communication, though they can never be realised in full, and this gets to the heart of deconstructive ethics. The tension between necessary ideals and their necessary impossibility is one way of understanding deconstruction.
3 de may. de 2024 · To focus on ghosts is no willful act of contrarianism according to Derrida. Marx’s work, he argues, teems with them – specters, spooks, phantasms, spirits. “Specters of Marx” is a genitive phrase – belonging both to the man and his work. It is also plural – many specters haunt Marx according to Derrida.
8 de may. de 2024 · This special issue of Angelaki on “Derrida: Ethics in Deconstruction” appears twenty years after the sad occasion of the death of Jacques Derrida in Paris on 12 October 2004, after an extraordinary life as an academic philosopher and a thinker. He was a philosopher in a very broad sense, whose work was important across the humanities and ...
8 de may. de 2024 · It is this antinomic relationship between ethics and sovereignty that Derrida famously called “democracy to come.”. While both ethics and sovereignty are often criticized in contemporary political theory, Derrida’s deconstruction of democracy demonstrates that they are together ineluctably necessary to this concept.
14 de may. de 2024 · Outre ses personnages atypiques, la musique chez Marguerite Duras occupe aussi une place à part, prépondérante. De son premier film en 1967 au titre sans équivoque, à la mère pianiste dans la pièce de théâtre L’Éden Cinéma (1977) jusqu’à India Song (1974), cette dernière joue une partition spécifique. À travers elle, la cinéaste se permet des fulgurances.
