Bøger af Jacques Derrida

“Differancen er det ’frembringende’ moment ved forskellene, de konstituerede forskelles, det konstituerede sprogs, det fuldt færdige sprogsystems ’historie’ … Ja, der er meget gammelt i det, jeg har sagt. Det hele er sikkert gammelt. Det er Heraklit, jeg har refereret til i sidste instans.” Sådan falder ordene i et par af de svar, som Jacques Derrida (f. 1930) giver under debatten i Fransk filosofisk Selskab om hans foredrag Differance i januar 1968. Det er i sig selv et intenst, fortættet forsøg på at endevende den filosofiske tale om væren, det værende, nærværet, så fokus kommer på den differeren, der både adskiller og udsætter – og derved sætter forskelle i spil. Det er metafysikkens gamle værenstænkning med afsæt i en ’ubevæget bevæger’, en sidste (eller første) instans, der her får modspil af en anderledes dekonstruerende forskelstænkning. Det på flere måder skelsættende foredrag ledsages i denne udgave ved Søren Gosvig Olesen, der også giver en grundig introduktion, af den oprindelige diskussion og af den manchet, hvormed Derrida i sin tid indbød sit lærde publikum. Bogen genudgives i Hans Reitzels Forlags serie Klassikere og udkom første gang på dansk i 2002.

Hvad ville historien være uden dens arkiver, dens museer og samlinger, dens skrifter og traditioner for fortolkning? Ville der overhovedet eksistere sådan noget som historie? Den berømte og berygtede franske filosof Jacques Derrida opsporer i et af sine mest kendte værker, som nu foreligger på dansk, netop denne problematik.Med sin dekonstruktive metode optrevler Derrida problematikken indefra med en bog, som udover de centrale teser stort set kun består af metatekst – i form af en indledning, et forord, en exergue og et efterskrift. I anledning af den danske oversættelse er tilføjet et forord af oversætteren Frederik-Emil Friis Jakobsen og et efterord af Torsten Andreasen.»Intet er i dag mere uklart og mere foruroligende end det begreb, der er arkiveret i ordet arkiv. […] Arkivets uro stammer fra en arkivfeber, fra en mal d’archive. Vi er »en mal d’archive«: Vi er i arkivforlegenhed. […] Det er endeløst, uophørligt, at søge efter arkivet, dér hvor det undslipper os. Det er at forfølge det, selv når der er for meget af det, dér hvor noget i det anarkiverer sig. Det er at lade sig drage mod det af et tvingende, gentagende og nostalgisk begær, et uundertrykkeligt begær efter en tilbagevenden til oprindelsen, en hjemve, en nostalgi om at vende tilbage til den absolutte begyndelses mest arkaiske sted.«

I Stemmen og Fænomenet gennemfører Jacques Derrida (1930-2004) en dekonstruktiv læsning af den tyske filosof Edmund Husserl (1859-1938). Bogen udkom oprindeligt på fransk i 1967 og i dansk oversættelse i 1997. Den har en indledning af lektor Adam Diderichsen.Derridas projekt er at vise, at Husserls sprogforståelse på væsentlig vis forudsætter den måde, hvorpå sproget altid er blevet tænkt i den vesterlandske metafysik.På trods af Husserls ønske om at starte forfra i filosofien er han således uhjælpeligt fanget i det spil, som han netop ikke vil spille, nemlig metafysikkens spil.

This book, written out of Derrida's long-standing friendship with Jean-Luc Nancy, examines the central place accorded to the sense of touch in the Western philosophical tradition.

I begyndelsen af 1990’erne blev det i alverdens medier bebudet, at religionen nu, til alles overraskelse, var vendt tilbage på verdensscenen som politisk faktor, også selvom kirkerne stod stadig mere tomme. I Tro & viden fra 1995 forsøger den franske filosof Jacques Derrida at redegøre for, hvorfor religionen således bliver ved med at vende tilbage i en angiveligt sekulær, oplyst tidsalder. Dette leder på sporet af en afgrundsdyb tro, som ligger til grund for religion såvel som videnskab:“Jeg sagde til mig selv, at man gør sig blind for det fænomen, der kaldes religionens genkomst i dag, hvis man fortsætter med så naivt at modstille fornuft og religion. Det ville være nødvendigt, men ikke enkelt, at vise, at religionen og fornuften har samme kilde.”Dette er dog ingen irrationalisme, for tværtimod påpeger Derrida, at den måske mest udbredte obskurantisme i dag har form af blind tro på en videnskab, der ikke vil vide af forskellen på tro og viden. Enhver overvejelse af religionens plads i et sekulariseret samfund kræver oplysning af dette forhold, hvis ikke debatten uophørligt skal pendulere mellem rationalisme og dennes spejlbillede.Jacques Derrida (1930-2004) er en af det 20. århundredes største filosoffer, hvis navn forbliver tæt knyttet til “dekonstruktionen”. Tro & viden er oversat og forsynet med et introducerende forord og forklarende noter af Kristian Olesen Toft og Bjarke Mørkøre Stigel Hansen.

First published in 1967, Writing and Difference, a collection of Jacques Derrida's essays written between 1959 and 1966, has become a landmark of contemporary French thought. In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought--one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models. The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence--the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing--for almost a generation of students of literature, philosophy, and psychoanalysis. Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida foes on to develop new ways of thinking, reading, and writing, --new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers--challenging because Derrida questions thought as we know it.

"Hospitality reproduces a two-year seminar series delivered by Jacques Derrida at the École des hautes études en sciences sociales in Paris between 1995 and 1997. In these lectures, Derrida asks a series of related questions about responsibility and "the foreigner" How do we welcome or turn away the foreigner? What does the idea of the foreigner reveal about kinship and the state, particularly in relation to friendship, citizenship, migration, asylum, assimilation, and xenophobia? Central to his project is a rigorous distinction between conventional, finite hospitality, with its many conditions, and the aspirational idea of hospitality as something offered unconditionally to the stranger. This volume collects the second year of the seminar, which considers an Islamic problematic of hospitality, the relevance of forgiveness, and the work of Emmanuel Levinas."--

"In Hospitality, Volume I, Jacques Derrida continues a seminar series he inaugurated in 1991 under the general title of "Questions of Responsibility." Delivered at the âEcole des Hautes âEtudes en Sciences Sociales (EHESS) in Paris from November 1995 through June 1996, the seminar is guided by questions that focus on responsibility and "the foreigner": How is the foreigner welcomed and/or repressed? What does the notion of the foreigner reveal about kinship, ethnicity, the city, the state, and the nation? What are the stakes of the opposition between friend and enemy? How should we think of this in relation to borders, citizenship, displaced populations, immigration, exile, asylum, integration, assimilation, xenophobia, and racism? Derrida approaches these questions through readings of several classical texts as well as more modern texts from Heidegger, Arendt, and Camus, among others. Central to his project is a rigorous distinction between conventional hospitality (always finite and conditional) and the idea of a hospitality open unconditionally to the newcomer"--

I begyndelsen af 1990’erne blev det i alverdens medier bebudet, at religionen nu, til alles overraskelse, var vendt tilbage på verdensscenen som politisk faktor, også selvom kirkerne stod stadig mere tomme. I Tro & viden fra 1995 forsøger den franske filosof Jacques Derrida at redegøre for, hvorfor religionen således bliver ved med at vende tilbage i en angiveligt sekulær, oplyst tidsalder. Dette leder på sporet af en afgrundsdyb tro, som ligger til grund for religion såvel som videnskab:“Jeg sagde til mig selv, at man gør sig blind for det fænomen, der kaldes religionens genkomst i dag, hvis man fortsætter med så naivt at modstille fornuft og religion. Det ville være nødvendigt, men ikke enkelt, at vise, at religionen og fornuften har samme kilde.”Dette er dog ingen irrationalisme, for tværtimod påpeger Derrida, at den måske mest udbredte obskurantisme i dag har form af blind tro på en videnskab, der ikke vil vide af forskellen på tro og viden. Enhver overvejelse af religionens plads i et sekulariseret samfund kræver oplysning af dette forhold, hvis ikke debatten uophørligt skal pendulere mellem rationalisme og dennes spejlbillede.Jacques Derrida (1930-2004) er en af det 20. århundredes største filosoffer, hvis navn forbliver tæt knyttet til “dekonstruktionen”. Tro & viden er oversat og forsynet med et introducerende forord og forklarende noter af Kristian Olesen Toft og Bjarke Mørkøre Stigel Hansen.

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

In the three essays that make up this stimulating and often startling book, Jacques Derrida argues against the notion that the basic ideas of psychoanalysis have been thoroughly worked through, argued, and assimilated. The continuing interest in psychoanalysis is here examined in the various "resistances" to analysis--conceived not only as a phenomenon theorized at the heart of psychoanalysis, but as psychoanalysis's resistance to itself, an insusceptibility to analysis that has to do with the structure of analysis itself. Derrida not only shows how the interest of psychoanalysis and psychoanalytic writing can be renewed today, but these essays afford him the opportunity to revisit and reassess a subject he first confronted (in an essay on Freud) in 1966. They also serve to clarify Derrida's thinking about the subjects of the essays--Freud, Lacan, and Foucault--a thinking that, especially with regard to the last two, has been greatly distorted and misunderstood.The first essay, on Freud, is a tour de force of close reading of Freud's texts as philosophical reflection. By means of the fine distinctions Derrida makes in this analytical reading, particularly of The Interpretation of Dreams, he opens up the realm of analysis into new and unpredictable forms--such as meeting with an interdiction (when taking an analysis further is "forbidden" by a structural limit).Following the essay that might be dubbed Derrida's "return to Freud," the next is devoted to Lacan, the figure for whom that phrase was something of a slogan. In this essay and the next, on Foucault, Derrida reencounters two thinkers to whom he had earlier devoted important essays, which precipitated stormy discussions and numerous divisions within the intellectual milieus influenced by their writings. In this essay, which skillfully integrates the concept of resistance into larger questions, Derrida asks in effect: What is the origin and nature of the text that constitutes Lacanian psychoanalysis, considering its existence as an archive, as teachings, as seminars, transcripts, quotations, etc.?Derrida's third essay may be called not simply a criticism but an appreciation of Foucault's work: an appreciation not only in the psychological and rhetorical sense, but also in the sense that it elevates Foucault's thought by giving back to it ranges and nuances lost through its reduction by his readers, his own texts, and its formulaic packaging.

Published in 1967, when Derrida is 37 years old, Voice and Phenomenon appears at the same moment as Of Grammatology and Writing and Difference. All three books announce the new philosophical project called "deconstruction." Although Derrida will later regret the fate of the term "deconstruction," he will use it throughout his career to define his own thinking. While Writing and Difference collects essays written over a 10 year period on diverse figures and topics, and Of Grammatology aims its deconstruction at "the age of Rousseau," Voice and Phenomenon shows deconstruction engaged with the most important philosophical movement of the last hundred years: phenomenology.

""One only ever asks forgiveness for what is unforgivable." From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the âEcole des Hautes âEtudes en Sciences Sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a "problematic of lying" by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankelâevitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the "evil" or malignancy of lying while developing a complex account of forgiveness across different traditions"--

"A new translation of Derrida's groundbreaking juxtaposition of Hegel and Genet, forcing two incompatible discourses into dialogue with each other"--

This book explores the idea of "traveling with" the philosopher of deconstruction. Malabou's readerly text of quotations and commentary demonstrates how Derrida's work functions as a counter-Odyssey through meaning, theorizing and thematizing notions of arrival, drifting, derivation, and catastrophe.

Influential exploration of the idea of friendship and its political consequences

"Derrida is one of the few Continental philosopher-critics as esteemed for his writings about visual topics as for his attention to more textually based subjects. This volume collects key and scarce writings about the making and apprehension of "visual objects," though the chief focus is on drawing, painting, and photography (with sorties into video and film). What preoccupied Derrida when it came to the visual arts is visibility: what does a pencil actually trace-make visible- when someone is making a drawing? What aspect of the drawing documents the artist's thought and what part documents an external object? What comes from painting other than a painting? The writings collected range from essays originally published in small magazines and journals to never-before translated talks and interviews. There are 19 pieces in all, of which seven have been previously published in English.. The rest have been translated into English for the first time. None is included in the Press's already substantial inventory of works by Derrida. The collection comprises three thematic sections: (1) "The Traces of the Visible" is attuned to the field's preoccupation with the "trace," what is an "image," visibility, and space. (2) "Rhetoric of the Line: Painting, Drawing" engages nearly every register in which one can experience art: the materiality of line and text, the eros of aesthetic experience, the politics of color, and the components of painting, writing and drawing taken together. (3) "Spectralities of the Image: Photography, Video, Cinema and Theatre" explores the media we most readily associate with modern and contemporary art practices"--

"This book is an event in Derrida scholarship, as it marks the publication of a long-lost Derrida text simply as "Geschlecht III," which the French philosopher never completed. Part of a series of reflections that represent his most sustained engagement with the writings of Martin Heidegger, this third part was thought by Derrida himself to be the heart of his Geschlecht series. The enigmatic word itself has several meanings in German, and Derrida teases out its implications for topics as diverse and provocative as sexual difference, nationalism, race, and humanity, engaging with Heidegger's controversial oeuvre throughout, as well as a host of other philosophical thinkers and even poetic ones, in the case of Georg Trakl. Thanks to the meticulous editorial work of Geoffrey Bennington, Katie Chenoweth, and Rodrigo Therezo, and vividly rendered by Chenoweth and Therezo's translation, Derrida's most mysterious text, awaited for decades, is finally available for new generations to ponder"--

Translation of: Heidegger: la question de l'aetre et l'histoire.

I Stemmen og Fænomenet gennemfører Jacques Derrida (1930-2004) en dekonstruktiv læsning af den tyske filosof Edmund Husserl (1859-1938). Bogen udkom oprindeligt på fransk i 1967 og i dansk oversættelse i 1997. Den har en indledning af lektor Adam Diderichsen.Derridas projekt er at vise, at Husserls sprogforståelse på væsentlig vis forudsætter den måde, hvorpå sproget altid er blevet tænkt i den vesterlandske metafysik.På trods af Husserls ønske om at starte forfra i filosofien er han således uhjælpeligt fanget i det spil, som han netop ikke vil spille, nemlig metafysikkens spil.

This book brings together five encounters. They include the date or signature and its singularity; the notion of the trace; structures of futurity and the "to come"; language and questions of translation; such speech acts as testimony and promising; the possibility of the impossible; and the poem as addressed and destined beyond knowledge.

Advances the author's reflections on many issues, such as sexual difference, architecture, negative theology, politics, war, nationalism, and religion.