By Tom Cohen
The paintings of Jacques Derrida has remodeled our realizing of quite a number disciplines within the humanities via its wondering of a few of the elemental tenets of western metaphysics. This quantity is a trans-disciplinary assortment devoted to his paintings. The assembled contributions--on legislations, literature, ethics, gender, politics and psychoanalysis--constitute an research of the function of Derrida's paintings within the humanities, current and destiny. the amount is unusual via paintings on a few of his most up-to-date writings, and comprises Derrida's personal handle on "the way forward for the humanities".
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Extra info for Jacques Derrida and the Humanities: A Critical Reader (Cambridge Companions to Literature)
Example text
Here is found the principle of the unconditional resistance of the university. One may say that, from the point of view of this classical auto-definition of the university, there is no place in it, no essential, intrinsic, proper place either for non-theoretical work, for discourses of a performative type, or, a fortiori, for those singular performative acts engendering today, in certain places in the Humanities today, what are called oeuvres. The classical autodefinition and auto-limitation that I have just evoked characterized the JACQUES DERRIDA academic space reserved formerly for the Humanities, even where the contents, objects, and themes of these produced or taught forms of knowledge were of a philosophical, moral, political, historical, linguistic, aesthetic, anthropological nature, that is, belonged to fields where evaluations, normativity, and prescriptive experience are admitted and sometimes constitutive.
There are certainly interwoven reasons for this, in particular that of the effects of the worldwide-ization underway that always passes by way of the United States, its political, techno-economic, and techno-scientific power, in a more unavoidable and visible fashion. . Finally, third possibility, does not a certain “as if ” mark, in thousands of ways, the structure and the mode of being of all objects belonging to the academic field called the Humanities, whether they be the Humanities of yesterday or today or tomorrow?
For what I would like to attempt with you is this apparently impossible thing: to link this “as if ” to the thinking of an event, that is, to the thinking of this thing that perhaps happens, that is supposed to take place, that is supposed to find its place – and that would happen here for example to what is called le travail (work). ” What happens, then, when the place itself becomes virtual, freed from its territorial (and thus national) rootedness and when it becomes subject to the modality of an “as if ”?