By Jacques Derrida
“The identify: What does one name therefore? What does one comprehend lower than the identify of brand name? And what happens whilst one gies a reputation? What does one supply then? One doesn't provide something, one gives you not anything, and nonetheless whatever involves be, which comes all the way down to giving that which one doesn't have, as Plotinus acknowledged of the nice. What occurs, peculiarly, while it will be significant to sur-name, renaming there the place, accurately, the identify involves be came upon missing? What makes the right kind identify right into a type of sur-name, pseudonym, or cryptonym right now singular and singularly untranslatable?”Jacques Derrida hence poses a relevant challenge in modern language, ethics, and politics, which he addresses in a cherished sequence of the 3 essays. Passions: “An indirect delivering” is a mirrored image at the query of the reaction, at the accountability and legal responsibility to reply, and at the danger of now not responding—which is to assert, at the ethics and politics of accountability. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised necessarily via a rigorous unfavorable theology. a lot of the textual content is prepared round shut readings of the poetry of Angelus Silesius.The ultimate essay, Khora, explores the matter of area or spacing, of the be aware khora in Plato’s Tmaeus. at the same time it locations and makes attainable not anything below the complete global, khora opens and dislocates, displaces, all of the different types that govern the construction of that global, from naming to gender. as well as readers in philosophy and literature, Khora might be of exact curiosity to these within the burgeoning box of “space studies”(architecture, urbanism, design).
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Additional info for On the Name (Meridian: Crossing Aesthetics)
I frame the problem in this particular manner not so much to avoid the question of Lawrence’s possible inconsistency, but to get more directly at what I think is the role that violence has in Lawrence’s work. To explore the sources and the significance of anti-social behaviour in Lawrence’s fiction is to find that Lawrence employs violence not as a means of demonstrating the need for external authority, but as a means of justifying its complete elimination. As a way to begin this exploration we should consider for a moment more of the implications behind that brief exchange between Birkin and Gerald early in Women in Love.
Lawrence proposes a community of “fulfilled individualities,” which he sometimes calls a “new Democracy” (RDP 73), and in which self-sacrifice is considered to be “perhaps the vilest deed a man can do” (Poems 679). The organizing principle for Stirner’s community is the idea that “nothing is more to me than myself” (7); for Lawrence’s it is to “realise at last that the highest reality for every living creature is in its purity of singleness and its perfect solitary integrity, and that everything else should be but a means to this end” (RDP 138).
33–34). “To be a man,” Stirner writes, “is not to realize the ideal of man, but to present oneself the individual” (163). So Lawrence, rejecting all the socially contrived essences and the de-individualizing ideals of what we ought to be, claims that: “No man can be anything more than just himself” (FU 47). With these abstract notions of “man” and “humanity” before them, Lawrence and Stirner launch into a remarkably similar attack on the very essence of what they both saw as the prevailing ideology of their day: namely, liberal humanism.
On the Name (Meridian: Crossing Aesthetics) by Jacques Derrida
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