A Derrida Dictionary by Niall Lucy

By Niall Lucy

This Dictionary deals issues of access into Derrida’s complicated and vast works.

* This Dictionary bargains issues of access into Derrida’s advanced and wide works.
* From ‘aporia’ to ‘yes’, the Dictionary indicates methods into Derrida that express what's at stake in his paintings.
* Demonstrates that Derrida is not only approximately philosophy, but in addition approximately politics and pa tune.
* Explains why deconstruction concerns, and the way Derrida can swap how you imagine.
* The A-Z entries are framed by means of essays at the inherent interdisciplinarity of Derrida’s paintings and on Derrida’s dating to a number of different thinkers.

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But since differences are ‘neither fallen from the sky nor inscribed once and for all in a closed system’ (P, 27), we need to see that ultimately (as it were) everything owes its identity to differance. Differance marks the opening of a system of differences in which everything acquires meaning and value according to what ‘we believe we know as the most familiar thing in the world’ (OG, 70–1) – that the outside is not the inside. But ‘without differance as temporalization, without the nonpresence of the other inscribed within the sense of the present’ (OG, 71), nothing could be said to have meaning or value in ‘itself ’.

Who is there, for example, in the figure of Hamlet himself – a madman, a righteous avenger, a jealous son, etc.? Who’s there in his mother’s bed, and who is she as a consequence? Who’s there in the Prince of Denmark that he could have been responsible for Ophelia’s death? Who’s there in Polonius, who blows with the wind? And of course who or what is there in the ‘thing’ that appears onstage in the likeness of the dead King, having been ‘twice seen’ already, before the play begins, posing the question of when the play begins?

To make that mistake would be to fail to ask the question of every democratic nation’s responsibility today for what Derrida chose to ‘sum up’, in 1994 or thereabouts, ‘with an ellipsis in the expression “appropriation of Jerusalem” ’ (SoM, 59). For what is happening today in and around the place and the figure of ‘the Middle East’ cannot be understood as a physical or even a political confrontation only, or as an ‘event’ as it used to be known. ). To suppose that the question of democracy comes down to a difference between voting as a right or an obligation would be to mistake democracy as an ideal for its always less than ideal phenomenological, historical, political or public manifestations.

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