By Professor Gregory L. Ulmer
"Applied Grammatology bargains a whole, rigorous, and perceptive interpreting of my released paintings, from the earliest to the latest. Gregory Ulmer's interpretation is immediately refined, trustworthy, and academic, and will be of great use for this on my own. it truly is, furthermore, an unique and path-breaking ebook even if discussing new paintings varieties or the transformation of the pedagogical scene... I learn this publication with popularity and admiration."--Jacques Derrida
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Additional info for Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys
Glas, at this level of decomposition, becomes a performance of the fricative properties of the guiding consonants, which turn out to be perfect opposites~caesura and flow: "Even while remaining a fragment effect among others, gl remarks also in itself the angular cut of opposition, the differential schize and the continuous flowing of the couple, distinction and copulating unity (for example of the arbitrary and of motivation)" (Glas, 262). Citing a work on the instinctual drives of phonation, Derrida notes that the L alludes to milk, archetype of all nourishing liquids (hence, the L in "liquid" itself), and the properties of milky colors and flowing sensations in general.
Taste, odor, and touch are excluded from any contribution to the comprehension of art (and from the philosophemes). Against this theoretical bias, Derrida notes Freud's observation, made in the case of the Rat Man, that the progress of civilization has been made at the expense of sexualitythe atrophy of the chemical senses in humans is in sharp contrast to the animal world, where they are closely linked with sexual instinct. Moreover, our relation to the abandoned sexual zones ("the regions of the anus and of the mouth and throat") provides Freud with a metaphor for repression as such: "To put it crudely, the current memory stinks just as an actual object may stink; and just as we turn away our sense organ (the head and nose) in disgust, so do the preconscious and our conscious apprehension turn away from the memory.
Its topic, relevant to the title of the collection, is the margins and limits of philosophy. The double-column format is used (anticipating Clas), the right side being a citation from Michel Leiris, and the left side being Derrida's discussion "touching" on Leiris, marginal writing. The citation concerns what can only be described as a cartouche, a version of the flourish in ornament; that is, it is an inven- 50 BEYOND DECONSTRUCTION: DERRIDA tory of network, grid, woven, or winding patterns found in nature and society, all of which Leiris gathers under the name "Persephone": "The acanthus leaf which one copies at school when one learns to handle charcoal more or less well, the stems of a concolvulus or other climbing plants, the spiral inscribed on a snail shell, the meanders of an intestine, the curl of childhood hair enshrined in a medallion, the modern style ironwork of metro entrances, the interlacings of embroidered monograms on sheets and pillow cases, the windings of a path, everything that is festoon, volute, scroll, garland, arabesque.