Academic literature on the topic 'Jacques Poststructuralism'
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Journal articles on the topic "Jacques Poststructuralism"
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Rutledge, David. "Faithful Reading: Poststructuralism and the Sacred." Biblical Interpretation 4, no. 3 (1996): 270–87. http://dx.doi.org/10.1163/156851596x00022.
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AbstractIn its subversive interrogations of universal values, objective criteria for meaning, canonicity and other hallmarks which distinguish the Literary, poststructuralism appears to confront all that is "sacred" in the privileged texts of Western culture. Particularly in biblical criticism, insofar as the sanctity of the text and the inviolability of its truth claims are held to be unquestionable, poststructuralism is often denounced as anathema, or at least inappropriate, to exegesis. It is argued that if determinate meaning is inaccessible through language, and universal truth a chimera, then according to poststructuralist tenets the Bible is, like all literature, "Just another text." This paper entertains another possibility: that poststructuralism in fact places the Bible in a position of singular significance. If claims for the "sacredness" of certain texts are precisely where poststructuralist critics direct their efforts, then biblical texts, whose claims for sacredness are more insistent and dogmatic than most, should provide poststructuralism's most contentious (and therefore most important) field of operation. Interrogating the sacred, far from being an iconoclastic pursuit, is an inevitable consequence of the reception of sacred texts-indeed, of language-in culture. By way of illustrating this point, I offer a reading of the Garden of Eden story (Gen. 2:4b-3:24) which incorporates insights offered by Jacques Derrida's critique of logocentrism. What poststructuralism demands, in the final analysis, is not the abandonment of meaning but its reconfiguration: notions of faithful reading and respect for the text which embrace difference, ambiguity and an understanding of the sacred as the site not of uncontestable command, but of enquiry and interpretation.
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Epstein, Charlotte. "Constructivism or the eternal return of universals in International Relations. Why returning to language is vital to prolonging the owl’s flight." European Journal of International Relations 19, no. 3 (September 2013): 499–519. http://dx.doi.org/10.1177/1354066113494669.
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In this contribution I engage with the question of the end of theory from a poststructuralist perspective. I begin by revisiting the making of International Relations as a discrete theoretical endeavour from Waltz (1979) to Wendt (1999), around, respectively, the efforts to unearth the structures of international politics that carved out the international as a distinct site of political analysis, and the appraisal of these structures as social structures (Wendt, 1999). I then revisit the origins of poststructuralism via the works of Jacques Derrida and Judith Butler, in order to bring its founding moves to bear directly on International Relations constructivism. Engaging with constructivism’s founding fathers, Nicholas Onuf, Alexander Wendt and Friedrich Kratochwil, I show that the search for unconstructed universals, grounded in an innate ‘human nature’, persistently haunts International Relations constructivism, even when it foregrounds language as the medium of social construction, and notably when it engages the question of gender. Just as language provided the original site for orchestrating the ‘moving beyond’ (the ‘post’ of poststructuralism) fixed, naturalized structures, I argue that a return to language holds the promise of renewal, and of constructivism’s being able to fulfil its founding promise to theorize constitutivity and the constructed-ness of International Relations’ world.
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Dedić, Nikola. "On Yugoslav Poststructuralism: Introduction to “Art, Society/Text”." ARTMargins 5, no. 3 (October 2016): 93–101. http://dx.doi.org/10.1162/artm_a_00160.
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“Umetnost, družba/tekst” was an editorial published in the Slovenian journal Problemi-Razprave (Problems-Debates) in 1975. The journal was the central outlet of the so-called Slovenian Lacanian school and as such the most important place for the reception of French anti-humanist philosophy in the former Yugoslavia. The concept of the journal was based on interpreting French post-structuralism in the spirit of the Tel Quel magazine, anti-humanist Marxism in the spirit of Louis Althusser, theoretical psychoanalysis in the spirit of Jacques Lacan and his followers, as well as on a special blend of Lacanian psychoanalysis and Althusserian ideology critique, which characterised the French journal Cahiers pour l'Analyse. One might also find theoretical and conceptual similarities between Problemi and other French post-structuralist periodicals, such as Peinture, cahiers théoriques and Cahiers du cinéma. The editorial presented here is thus a unique example of introducing structuralism, post-structuralism, and Lacanian psychoanalysis into debates about society, culture, ideology, and art in Yugoslavia in that time.
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Wenman, Mark. "Much Ado about ‘Nothing’: Evaluating Three Immanent Critiques of Poststructuralism." Political Studies Review 15, no. 4 (September 16, 2017): 564–76. http://dx.doi.org/10.1177/1478929917712934.
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In this article, I defend Jacques Derrida’s assumptions about language and discourse from three immanent critiques of poststructuralism. I refer to these as the ethical, metaphysical and political critiques. At the heart of Derrida’s approach is an emphasis on the terrain of signification, understood as a precondition of our perception of/engagement with ‘the world’. This is encapsulated in his statement that ‘there is no(thing) outside of the text’, and the ethical, metaphysical and political critiques turn on what can or cannot be said about this ‘nothingness’ that marks the limit of the discursive terrain. I examine the assertions that the extra-discursive ‘nothingness’ is (a) the source of an inscrutable ethical demand, (b) can be understood as a material realm of ‘vital forces’ and alternatively (c) that nothing positive can be said about this limit point of the discursive, but ‘it’ nonetheless becomes manifest within the terrain of signification in the form of a disruptive event. While I reject the ethical and metaphysical responses, I feel sympathy for the political critique of deconstruction. Indeed, I argue that politics unfolds in a tension between the manifestation of the event and the kinds of manoeuvres that are possible within the field of signification.
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Pjesivac, Zeljka. "Architectural promenade as scene of writing: the Jussieu library (1992) by Oma/Rem Koolhaas." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 431–38. http://dx.doi.org/10.2298/fuace160930033p.
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This study investigates implementation of the conceptual and textual techniques associated with poststructuralism (such as the poststructuralist concepts of writing, text, intertext, discoursive practices) in Rem Koolhaas's project the Jussieu Library (1992) planned within the Sorbonne University complex in Paris. The main hypothesis of the study is that Koolhaas produces in the project for the Jussieu Library transgression of language of modernistic architecture conceiving the concept of architectural promenade as a scene of writing. In other words, from the understanding of the concept of architectural promenade as a self-reflexive, abstract and autonomous concept, we move to the understanding of the architectural promenade as culturally dependent, but also for culture and society determinant concept. How does Koolhaas embody operative ideological practices of post-structuralism in the case of the Jussieu Library? How can we understand the concept of architectural promenade as a scene of writing? In other words, how can we understand the architectural promenade as a field of lines of deterritorialization and reterritorialization of different narratives, discourses, ideologies, contexts? What role could this concept of the architecture have in a society? In a theoretical context the study draws on the investigations of: Jacques Derrida, Michael Foucault, Joseph Beuys, Gilles Deleuze and F?lix Guattari.
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Šuvaković, Miško. "What happened to aesthetics and art over the last 100 years?: Contradictions and antagonisms: Theory wars!" SAJ - Serbian Architectural Journal 11, no. 2 (2019): 235–46. http://dx.doi.org/10.5937/saj1902235q.
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The subject of my paper is the dynamic and transformational relations between aesthetics and art from 1919 to 2019. The first problem to be discussed will be the relationship between art and politics at the Bauhaus and art institutes of the Soviet avant-garde. Next, I will point to differences in Marxist concepts of socialist realism and critical theory on modern culture and art. I will analyse the relationship between the concept of the autonomy of art, especially painting and minimal art. A comparison will be derived between anti-art (Dada, NEO-Dada) and anti-philosophy (Friedrich Nietzsche, Ludwig Wittgenstein, Jacques Lacan). I will highlight approaches from analytical meta-aesthetics to the interpretation of Duchamp's readymade, deriving a theory of art in conceptual art. Special attention will be paid to the "theoretical conflicts" between phenomenology and structuralism, as well as poststructuralism. I will conclude my discussion by identifying the "aesthetic condition" in relation to "contemporary art" (feminist, activist, political, ecological, participatory, and appropriative art). The aim of my discussion will be to highlight the character of modern and contemporary aesthetics in relation to art theory, by way of diagrammatic reflection on the binaries, differences, and reconstructions of dialectics.
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Žukauskaitė, Audronė. "J. DELEUZE’O SKIRTUMO SAMPRATA." Problemos 75 (January 1, 2008): 119–28. http://dx.doi.org/10.15388/problemos.2008.0.1992.
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Straipsnyje analizuojama Gilles’io Deleuze’o skirtumo samprata, suformuluota jo ankstyvosiose knygose Bergsonizmas, Skirtumas ir pakartojimas bei Prasmės logika. Skirtumo samprata, suformuluota knygose Skirtumas ir pakartojimas bei Prasmės logika, pagrįstai gali būti interpretuojama poststruktūralizmo teorijos kontekste. Deleuze’o siekis konceptualizuoti „skirtumą savyje“ daug kuo panašus į Jacques’o Derrida pastangas apibrėžti „pirminį différance“. Skirtumo samprata, suformuluota knygoje Bergsonizmas, yra visiškai originali, nes Deleuze’as skirtumą suvokia ne tik kaip signifikacijos sąlygą, bet ir kaip virtualumo ir aktualumo diferenciacijos procesą. Šiuo požiūriu galime teigti, jog knygoje Bergsonizmas aptariama skirtumo samprata yra daug platesnė, nes čia skirtumas suvokiamas ne tik kaip reikšmės ir prasmės kūrimo, bet ir kaip pačios tikrovės aktualizavimo principas. Pagrindiniai žodžiai: skirtumas, pakartojimas, prasmės serijos, virtualumas, aktualumas.Deleuze’s Notion of DifferenceAudronė Žukauskaitė SumkmaryGilles Deleuze can be considered as a “philosopher of difference” along with other poststructuralists like Jacques Derrida, Julia Kristeva, Luce Irigaray, Jean-Franēois Lyotard. Though there are some other voices, like that of Todd May’s, to say that Deleuze is “not a thinker of difference at all”, we can still argue that Deleuze creates a very original notion of difference, which develops further not only modern definitions of difference (Hegel, Nietzsche) but also the poststructuralist notion of signification as differentiation. The notion of difference, formulated in Difference and Repetition and The Logic of Sense, can be still interpreted in the poststructuralist context and compared with Derrida’s quasi-concept of différance. By contrast, the notion of difference formulated in Bergsonism relates not to the process of signification, but to the process of differentiation between the actual and the virtual. In this respect, we can say that the notion of difference developed in Bergsonism can be considered, not only as the principle of organization of sense, but also as the principle of actualization and creation of reality. Keywords: difference, repetition, sense series, the virtual, the actual.
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Hurh, Paul. "“The Creative and the Resolvent”." Nineteenth-Century Literature 66, no. 4 (March 1, 2012): 466–93. http://dx.doi.org/10.1525/ncl.2012.66.4.466.
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Beginning with the influential readings by Jacques Lacan and Jacques Derrida, poststructuralist fascination with Edgar Allan Poe's detective tales has treated them as fables of analytical method and exposed them as posing an insoluble challenge to totalizing frameworks of interpretive analysis. These studies overlook an excised paragraph from Poe's first detective tale in which Poe displays the debt his model of analysis owes to historical sources. This essay discovers the origins of Poe's model of analysis by recovering its discursive context and argues that the poststructuralist conclusions are anticipated in part by Poe's deliberate attempts to translate that model into narrative. This model, inherited from scientific debates in Renaissance history, defines analysis as comprised of two reciprocal processes—the process of resolution and the process of composition. The first part of this essay addresses the original first paragraph of “The Murders in the Rue Morgue” (1841) and the definition of analysis that its restoration enables. The discoveries there lead to a reading of “The Man of the Crowd” (1841) as a failed first attempt to translate the dynamic processes of resolution and composition into a narrative system. By recovering a first paragraph that the poststructuralist criticism misses, this study finds “The Man of the Crowd” central to Poe's strategies of narrative deferral and yields an important pre-history of the deconstructive critical aporia that is their legacy.
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Alfonso Bouhaben, Miguel. "La Videoperformance como Crítica Feminista a la Familia Patriarcal. Análisis de "Semiotics of the Kitchen" (Martha Rosler, 1975)." Barcelona Investigación Arte Creación 4, no. 1 (February 3, 2016): 8. http://dx.doi.org/10.17583/brac.2016.1427.
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<p>Feminist criticism has always been in the spotlight for the family as a result of political construction idelógico male-dominant power. This article aims to determine both the forms of social control of women in the domestic sphere, as diversion practices and meanings to those seeking to offset constraints. To do this, we analyze the videoperformance Semiotics of the kitchen of Martha Rosler as a case in which rupture modes of the dominant order are exemplified in three fields: language, identity and politics. In the analytical exercise of this audiovisual text establish a dialogue with the theories of Jacques Derrida, Jacques Lacan, Michel Foucault and Gilles Deleuze and feminist theories, the thesis mainly around the issue of gender, Judith Butler poses assuming that the legacy of these philosophers structuralist and poststructuralist.</p>
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Gough, Noel. "Continuing the Narrative Some 20 years Later." Australian Journal of Environmental Education 30, no. 1 (July 2014): 30. http://dx.doi.org/10.1017/aee.2014.20.
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I wrote ‘Narrative and Nature: Unsustainable Fictions in Environmental Education’ in 1991 as a revised version of a paper subtitled ‘Poststructural Inquiries in Environmental Education’ that I presented at the Sixth National Conference of the Australian Association for Environmental Education in September 1990. To the best of my knowledge, these papers were the first instances of advocacy for poststructuralist analyses of dicourses/practices in the Anglophone literature of environmental education. The key influences on my thinking at this time were US and Canadian ‘reconceptualist’ curriculum scholars, including Cleo Cherryholmes, Jacques Daignault, William Doll, Clermont Gauthier, Rebecca Martusewicz, William Pinar and William Reynolds. The significance and impact of my poststructuralist inquiries in environmental education were recognised by the award of the inaugural Australian Museum Eureka Prize for Environmental Education Research in 1997. Since then, my ‘post’ scholarship has expanded to include postcolonialism and posthumanism. Narrative continues to be an important theme in my work, especially through my development of an approach to narrative experimentation that I call ‘rhizosemiotic play’.
Dissertations / Theses on the topic "Jacques Poststructuralism"
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Wicomb, Wilmien. "The complexity of identity : the Afrikaner in a changing South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1712.
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Thesis (MA (Philosophy))--University of Stellenbosch, 2008.This thesis sets out to model the notion of group identity in terms of the theory of complexity. It is an attempt to speak meaningfully about a concept that needs to have a sense of stability in order to constitute an ‘identity’, but at the same time has to be able to change in order to adapt to changing circumstances – and indeed does change. This tension between stability and change is seen as a manifestation of the philosophical endeavour of ‘thinking the difference’ which, in this context, is understood to mean that if we are committed to thinking the difference (and thereby undermining the philosophy of the same) for ethical reasons, we have to speak of group identity itself in terms that preserve difference. That entails keeping the tensions inherent to the notion intact, rather than choosing to emphasise one end of the tension, thereby reducing the other. As such, identity is understood as being relational. While modelling group identity as a complex system two important tensions are identified: that of the inside-outside divide that is a function of the boundary-formation of the system and the traditional tension between agency and structure in the formation of identity. The emphasis on difference as constitutive of identity places the argument within poststructuralism as a school of thought. More specifically, the links that have been established between complexity theory and the work of Jacques Derrida is explored to unpack the implications these links would have for group identity. This application is done within the framework of time: first the issues of the past and the memory of the group are investigated to explore whether identity as a complex system can cope with its own tensions. The work of Derrida is employed to show how the memory of a complex system can be understood as the inheritance of the system. This is an ethical understanding which entails responsibility. Understanding the past in this way, it is argued, allows the future to be thought. This is the case, it is argued, because the future must be understood as a Derridean ‘new beginning’ which entails engaging with and deconstructing the past. Finally, this notion of the future as a new beginning is unpacked. It is defined as the group’s singular opportunity to allow for ‘real’ change, change that is only possible if the system is disrupted by its outside. It is argued that the complex system as a very particular open system can accommodate the possibility of the ‘new beginning’. This understanding of the system and its outside is brought in relation to Derrida’s understanding of the economy of the system and the future as a ‘new kind of writing’. The implications of this theory for the notion of autonomy are briefly addressed. In order to test the theory, the argument is applied throughout to the example of the Afrikaner as a group identity. In conclusion, suggestions are made as to how the Afrikaner could understand itself and its memories in order for the group identity to survive meaningfully and – more importantly – ethically.
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Hamman, J. N. (Johannes Nicolaas). "Poststructural ethics and the possibility of a general ethical theory." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51883.
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Thesis (MPhil)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study is concerned with the possibility and characterisation of poststructural ethics and the ethics of general theories. It contains a review of selected readings on Modernity and provides a "snapshot" of an ethical system that is essentially rule based and privileges rationality. Some of the problems with such a system, such as inflexibility, tolerance based on superiority and force and the privileging of male gender is explored. It proceeds by perusing some literature on postmodernity as an open ethical system in which values are free floating and lists of rules are constantly produced and disregarded in a dizzying ethical free for all in which "anything goes". No value is considered more worthwhile than personal survival. As a starting point for reading Modernity and postmodernity together, Levinas introduces a radical perspective on ethics that can be read as a condemnation of postmodern morality. He relates an ethics in which the survival of the "other" is more important than the survival of the self. However, he does not ground the metaphysics of such a privilege in rationality or knowledge and hence does not turn it into an ethical rule, but rather, subtly shifts the responsibility for the other person to an ultimate responsibility for the Other as God. This radical responsibility is rejected by deconstruction which does not reject either postmodernity or Modernity but is an attempt to think through the limits of rule-orientated rationality, free-play and mystical metaphysics to produce an ethical awareness that has a sensitivity for the complexity of context. Through the notion of "writing", the peculiarities it displays and the objections it attracts, Derrida seeks to establish a uniquely ethical writing that is both a stable manifestation of ethics and a dynamic engagement with those subject to it. With these readings in the background the thesis attempts to provide a framework for poststructural ethics. It is an ethics based in the notion of friendship but does not ground itself in any guarantees. It re-evaluates rationality in terms of a sublime struggle for meaning and truth. This sublime struggle offers a unique perspective on political debates that strive towards responsible development for multicultural societies and also on a sociological approach to law and the ability to dispense justice without undue prejudice. The main contention of the thesis is that although poststructuralism does not suppose a grounding metaphysics in either rationality or responsibility towards God it cannot be satisfied with the self-indulgent nihilism of an "anything goes" postmodernism. Thus, it depends on the notion of a "complex system" that "self-organises" and produces limits through spontaneous connections. Through the working of deconstruction complex systems can take on a more human manifestation as friendships flourish and decay through the interaction of faces.
AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met die moontlikheid en karakterisering van poststrukturele etiek en die etiek van algemene teorië. Dit bevat In geselekteerde oorsig van Moderniteit en verskaf In "kiekie" van In etiese sisteem wat essentieël op reëls gebasseer is en rationaliteit privilegieer. Sommige probleme met so In sisteem, soos byvoorbeeld onbuigsaamheid, verdraagsaamheid gegrond in superioriteit, geweld en die privilegieering van manlikheid, word ondersoek. Die studie sit voort deur sommige literatuur oor postmoderniteit as In oop etiese sisteem onder oë te neem. So In sisteem veronderstel vryvloeiende waardes en lyste van reëls wat gedurig geproduseer en geabandoneer word in In duisligwekkende etiese vryspel wat beskryf kan word as "anything goes". Geen waarde word hoër geag as persoonlike oorlewing nie. As die beginpunt van In lesing wat Moderniteit en postmoderniteit met mekaar in verband bring verskaf Levinas In radikale perspektief op etiek wat verdoemend staan teenoor die moraliteit van postmoderniteit. Hy beskryf In etiek waarin die oorlewing van die "ander" meer belangrik geag word as die oorlewing van die self. Hy grond egter nie die metafisieka van so In voorreg in rationaliteit of kennis nie, en lê dit dus nie neer as In etiese reël nie, maar verskuif eerder op subtitle wyse verantwoordelikheid vir die ander persoon na In uiteindelike verantwoordelikheid vir die Ander as God. Laasgenoemde radikale verantwoordelikheid word deur dekonstruksie verwerp in In poging om postmoderniteit en Moderniteit saam te snoer en die limiete van reël-georiënteerde rationaliteit, vry-spel en mistiese metafisieka deur te dink. Hierdeur word 'n etiese gewaarwording geproduseer wat sensitiviteit vir die kompleksiteite van konteks vertoon. Deur die nosie van "skryf', die eienaardighede en teenkanting daaraan verbonde, is Derrida op soek na die neerlegging van In unike etiese skryf wat beide In stabille manifestasie van etiek is en 'n dinamiese betrokkenheid by die wat daaraan onderhewig staan. Met hierdie leeswerk in die agtergrond poog die tesis om 'n raamwerk vir poststrukturele etiek daar te stel. Dit is In etiek wat as basis die nosie van vriendskap aanvaar sonder om enige waarborge uit te deel. Rationaliteit word gere-evalueer in terme van In sublime stryd vir betekenis en waarheid. Hierdie sublime stryd bring 'n unieke perspektief na politieke debatte wat volhoubare ontwikkeling in multikulturele samelewings ten doel het en vir In sosiologiese benadering tot die reg en regsvaardigheid. Alhoewel poststrukturele etiek nie In metanarratief veronderstel, soos die etiek van Moderniteit, nie kan dit egter ook nie tevrede wees met die destabiliserende nihilisme van 'n "anything goes" postmodernisme nie. Poststrukturele etiek steun dus swaar op die idee van 'n "komplekse sisteem" wat self-organiseer en llrniette stel deur middel van spontane konneksievorming. Deur die werking van dekonstruksie kan so In komplekse sisteem ook in meer menslike terme verwoord word as vriendskappe wat groei en vergaan in die interaksie tussen "gesigte".
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Fourgeaud, Nicolas. "La performance au miroir des médiations. Enjeux théoriques et critiques." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030057.
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À l’orée des années soixante, la performance a cherché à imposer un art de l’action éphémère que n’entraverait aucun type de médiation, qu’il soit symbolique (la distance acteur/spectateur), technique (les médias), ou même linguistique (le langage, les signes). Enjeu de nombreux débats entre les années 1960 et 1990, ces tentatives ont trouvé de multiples formulations théoriques s’appuyant sur les outils du poststructuralisme en particulier, mais aussi sur des cadres de pensée différents, directement hérités du modernisme de Greenberg. On explore ici les étapes et enjeux de ce croisement, jusqu’à la rupture apportée dans les années 1990 et 2000 où les débats théoriques, toujours dirigés par des schémas poststructuralistes, redonnèrent une place centrale aux médiations, tout particulièrement au document. Or, la figure importante de la pratique artistique qu’est devenu le document depuis les années soixante s’avère mettre en question l’ontologie traditionnelle de la performance, orientée sur l’événement, autant que son épistémologie, qui valorise l’expérience directe. La prise en compte des dimensions instrumentales et artistiques du document nous conduit à réviser la poïétique traditionnelle de la performance et les théories de la communication qui lui sont liées, et à repenser par là même l’opposition entre objet et événement qui fonde la définition de la performance. C’est ainsi qu’on interroge le rapport de celle-ci à l’inscription, pour la redéfinir comme un art irréductible à son contexte d’exécution et travaillé en profondeur par la reproduction et la représentation, au travers notamment de l’étude de certaines figures exemplaires, Allan Kaprow, Chris Burden ou Tino SehgalOn the edge of the 1960’s, performance looked after imposing an art of ephemeral action that no kind of mediation would impede, be it symbolic (the distance between actor and spectator), technical (the medias), or even linguistical (language, signs). Those attempts led to numerous discussions between the 1960’s and the 1990’s, and have found numerous theoretical formulations using particularly the tools of poststructuralism, but also frames of thought directly inherited from Greenberg modernism. We explore here the stages and issues of this cross-over until the break of the 1990’s and 2000’s where the theoretical debates, always using poststructuralist schemes, gave a central role to mediations, particularly to the document. Documents have become an important figure of artistic practice since the 1960’s and turned out to question the traditional ontology of performance, based on the event, as well as its epistemology that promotes live experience. We try to consider the instrumental and artistic dimensions of the document ; this leads us to revise the traditional poetics of performance and theories of communication that are related to it, and to consider anew the opposition between object and event on which the definition of performance is based. Thus, we question the links between performance and inscription, redefined as an art that is irreducible to its context of execution and worked in depth by reproduction and representation, through the study of certain figureheads : Allan Kaprow, Chris Burden or Tino Sehgal
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McFarlane, Kate. "Corporeal tracings visuality, power and culture /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/45968.
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"2004".Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005.
Bibliography: p. 315-327.
Introduction -- Aporias and openings in the architecture of the mind's eye: deconstructing pure visuality in Descartes -- Visuality, universal flesh and phenomenal circularity: visio-corporeal generality with Merleau-Ponty -- Corporeal envisionings as power-knowledge: Foucault and diffuse visio-governmentality -- The grammatology of visuality: visio-corporealising Derrida's "science" of the trace -- Conclusion.
The conception of visuality within what Jacques Derrida understands as the 'metaphysical epoch' demands revision in order to produce a fully post-metaphysical theory of visuality. Drawing upon the corporeal phenomenology of perception in Maurice Merleau-Ponty, the politico-cultural conception of visuality in Michel Foucault and the trace philosophy of vision in Jacques Derrida, visualities are theorised here as dynamic 'corporeal tracings' immanently bearing politico-cultural forces. Elements of these three major thinkers are here brought into generative dialogue and welding which, for instance, relocates the corporealism of Merleau-Ponty in terms of the trace dynamics conceived by Derrida and which in turn insists upon the visio-corporeality of general writing that Derrida largely elides. A rereading of Rene Descartes on vision is advanced in the light of this theory that deploys Derrida's deconstructive method to detect the aporias and self-deconstructions within a characteristic metaphysical discourse of pure visuality that overtly elides both corporeality and the trace (understood in the theory of corporeal tracings as inseparable). -- Merleau-Ponty is critiqued from a post-dualist position on the role of the mind and the body in the experience of visuality, Foucault's ideas on bodies, visualities and diffuse powers are developed through the notion of'visio-govemmentality' and Derrida's conceptions of grammatology and the trace are redefined in terms of an emphasis on visiocorporeality. New terms and concepts emerge from these engagements that extend and elaborate visuality theory in terms of fully post-metaphysical domains of understanding. There is a commitment throughout to three theoretical positions: corporealism, culturalism and holism or what is termed here 'total contextualism'. These positions enable the fully post-metaphysical theorisation of visualities as dynamic and complex corporeal tracings encompassing both human bodies and total visio-corporeal contexts.
Mode of access: World Wide Web.
327 p
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Van, Niekerk Marthinus Christoffel. "Shakespearian play deconstructive readings of The merchant of Venice, the tempest, Measure for measure and Hamlet /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11092004-115656/.
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Blazer, Alex E. ""I am otherwise": the romance between poetry and theory after the death of the subject /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053631716.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains 386 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 26.
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Shayegh, Elham. "Sufism And Transcendentalism: A Poststructuralist Dialogue." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1373984875.
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Vácha, Ondřej. "Filosofický kontext sociálního konstruktivismu jako teorie mezinárodních vztahů." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-201584.
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The present thesis interpretes Nicholas Onuf´s fundamental book World of Our Making. This text tries to evaluate Maja Zehfuss´ and Charlotte Epstein´s poststructuralist arguments against constructivist IR theory and tries to resolve the problem within a broader philosophical context. In the end it seeks to consider their argument against the inherent tension of Onuf´s constructivism and consequently suggest a possible solution.
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Welsh, Sasha. "Imagining what it means to be ''human'' through the fiction of J.M. Coetzee's Life & Times of Michael K and Cormac McCarthy's The Road." University of the Western Cape, 2018. http://hdl.handle.net/11394/6205.
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Magister Artium - MAThrough a literary analysis of two contemporary novels, J.M. Coetzee's Life & Times of Michael K (1983) and Cormac McCarthy's The Road (2006), in which a common concern seems to be an exploration of what it means to be human, the thesis seeks to explore the relationship between human consciousness and language. This dissertation considers the development of a conception of the human based on rationality, and which begins in the Italian Renaissance and gains momentum in the Enlightenment. This conception models the human as a stable knowable self. This is drawn in contrast to the novels, which figure the absence of a stable knowable self in the representation of their protagonists. The thesis thus interrogates language's capacity to provide definitional meanings of the ''human.'' On the other hand, although language's capacity to provide essential meanings is questioned, its abundant expressive forms give voice to the experience of human being. Drawing on a range of fields of enquiry, both philosophical, linguistic, and bio-ethical, this thesis seeks to explore the connection between human consciousness and the medium of language. It considers how the two novels in question play with the concept of language to produce or imagine other ways of thinking about human existence, and other ways of creating meaning to human existence through the representation of their novels.
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Brouillard, Matthieu. "La notion de "crise du sujet" chez les poststructuralistes et sa mise en scène dans une série photographique ayant pour prémices le panneau de la Résurrection du retable d'Issenheim de Matthias Grünewald." Thèse, 2012. http://www.archipel.uqam.ca/5377/1/D2398.pdf.
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Le présent projet doctoral se compose d'un volet théorique et d'un volet pratique. Au niveau théorique, nous abordons la notion de crise du sujet moderne - qui va de pair avec la représentation et la mise en espace du corps humain -, telle que théorisée par des auteurs français « poststructuralistes » comme Michel Foucault, Jacques Lacan et Jean-François Lyotard. Nous tentons de dresser un panorama propre à rendre compte, d'un point de vue historique, de la genèse du sujet moderne, de son déploiement à partir de la Renaissance et de son déclin dans le monde occidental « postmoderne », qui se caractérise notamment par le relâchement des liens symboliques. Nous inscrivons en outre cette histoire condensée du sujet dans le cadre d'une histoire de la peinture et nous la mettons en relation avec la naissance et l'émergence du médium photographique. Ainsi ce texte, à travers la présentation et l'analyse du concept moderne de subjectivité, tente-t-il de mettre en lumière ce que l'on pourrait appeler un « lien ontologique » qui unit des notions aussi diversifiées que le sujet moderne ou cartésien ; le rapport conflictuel que celui-ci entretient avec le corps et avec le phénomène de vision ; la mise en perspective d'un tel sujet dans l'art de la post-Renaissance ; le parachèvement du régime pictural moderne à travers la photographie ; et, enfin, la crise du sujet moderne, que nous situons dans le prolongement des réflexions développées sur la photographie, médium par excellence du morcèlement des corps et de la dissémination du sens. Au terme de ce parcours, nous essayons de voir comment ce bilan historique des idées et des concepts philosophiques s'articule dans notre travail artistique et en éclaire le fonctionnement. Sur le plan pratique, nous avons réalisé une série de neuf photographies mises en scène, intitulée La Résurrection, qui fut présentée dans le cadre d'une exposition au Centre OBORO de Montréal en septembre 2011. Avec ces images, nous avons cherché à combiner une certaine tension dramatique propre au médium photographique avec une figure extraite du panneau de la Résurrection du retable d'Issenheim (1512-16) de Matthias Grünewald afin de produire un dispositif de haute intensité propre à rendre compte de cette crise du sujet. Cette série se présente donc, d'entrée de jeu, comme une réflexion sur le statut ontologique de l'image photographique et sur les liens que la photographie entretient avec la peinture de la Renaissance. Cette réflexion se double d'une méditation sur notre incarnation dans le monde et notre rapport à la représentation en cette ère que d'aucuns voient comme celle de « la fin des grands récits ». Par l'entremise d'un dialogue inusité avec le tableau de Grünewald, cette série aborde les thèmes de l'érosion du sens et de l'aliénation par et dans l'image. La série explore par ailleurs les contraintes de la chair ainsi que la perte des repères et distinctions claires entre corps et décor, dedans et dehors, le corps et la prothèse, le soi et l'autre, le vivant et le spectral, l'autonomie et l'hétéronomie subjectives, toutes notions qui participent de cette crise du sujet moderne que nous abordons théoriquement.
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MOTS-CLÉS DE L’AUTEUR : Crise (sujet), Subjectivité (crise), Aliénation, Subjectivité moderne, Poststructuralisme, Postmodernité, Photographie, Jacques Lacan, Matthias Grünewald, Perspective (peinture)
Books on the topic "Jacques Poststructuralism"
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What if Derrida was wrong about Saussure? Edinburgh: Edinburgh University Press, 2011.
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Hirsch, Alfred. Der Dialog der Sprachen: Studien zum Sprach- und Übersetzungsdenken Walter Benjamins und Jacques Derridas. Munich, Germany: W. Fink, 1995.
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Sim, Stuart. Bunyan, Poststructuralism, and Postmodernism. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.31.
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This chapter surveys examples of the use of poststructuralist and postmodernist theory to analyse Bunyan’s work. The primary concerns and general agenda of poststructuralist/postmodernist theory are identified to assess their applicability to Bunyan’s writings (particularly his fiction and spiritual autobiography), focusing on the concepts of difference, différance, discourse, grand and little narratives, and the differend, as outlined in the work of Jean-François Lyotard, Jacques Derrida, and Michel Foucault. It is argued that such theories emphasize instability, and that this was a prominent feature of life in later seventeenth-century England: a period of considerable socio-political turmoil in which various ideological narratives were vying for power. Bunyan is seen to be someone constantly struggling against difference, différance, and differends: a factor that renders his writings particularly receptive to poststructuralist/postmodernist readings.
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Ethics and Politics after Poststructuralism: Levinas, Derrida and Nancy. Edinburgh University Press, 2016.
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Ethics And Politics After Poststructuralism Levinas Derrida And Nancy. Edinburgh University Press, 2013.
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Moore, Stephen D. Poststructuralism and the New Testament: Derrida and Foucault at the Foot of the Cross. Fortress Pr, 1994.
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Tremlett, Paul-François. (Post)structuralism. Edited by Michael Stausberg and Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.16.
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This chapter suggests that structuralism and poststructuralism should be understood as part of a ‘turn’ in social theory and philosophy to ‘systems.’ It explores Claude Lévi-Strauss’s approach to myth, demonstrating that his approach entwines elements from linguistics and dynamic systems theory that point ‘back’ to formalism and ‘forward’ to poststructuralism. It then examines Lévi-Strauss’s critique of evolutionist and functionalist accounts of ‘primitive’ religion and his engagements with work by Frazer and Malinowski. The chapter shows the extent to which Lévi-Strauss’s approach undermined notions of progress and accounts of the regulatory role of religion in the closed social system described by functionalism. The chapter then moves on to explore Jacques Derrida’s account of language and deconstruction and the critique of the metaphysics of presence, suggesting that deconstruction also privileges the idea of the open system. This is shown to have significant implications for textual, historical, and sociological studies of religion.
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Singleton, Jermaine. Reconstituted Melancholy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039621.003.0003.
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This chapter takes a closer look at the underpinnings of the cultural melancholy that claims post-Emancipation African American subject-formations and cultures. It does so by putting psychoanalytic theorizations of Sigmund Freud's concept of melancholia and Jacques Derrida's poststructuralist reading of Karl Marx's work on specters in conversation with August Wilson's Piano Lesson. Wilson's play traces racial melancholy sustained and reconstituted as a result of, and in resistance to, an enduring struggle with racial oppression as American nationhood nestled firmly into the industrial era and normative homogenization and consensus steadily rose against the backdrop of staggering European immigration statistics. The chapter shows how the play stages parallel trajectories of psychological restriction sustained by post-Emancipation black men and women through ritual practice as they struggle for inclusion in a segregationist society that has historically subjugated them. It extends theories of race and ethnicity by positing a reading of the racialized subject that shows how she/he is at once constituted through and distinct from the racial collective and its history of racialization.
Book chapters on the topic "Jacques Poststructuralism"
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Levinas, Derrida. "Jacques Derrida." In Ethics and Politics after Poststructuralism, 70–98. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748685134.003.0004.
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"Poststructuralism as deconstruction: Jacques Derrida's Of Grammatology." In Understanding Poststructuralism, 25–52. Acumen Publishing Limited, 2005. http://dx.doi.org/10.1017/upo9781844653683.002.
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"Poststructuralism as deconstruction: Jacques Derrida’s Of Grammatology." In Understanding Poststructuralism, 25–51. Routledge, 2014. http://dx.doi.org/10.4324/9781315712192-2.
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Rajan, Tilottama. "Incorporations: The Gothic and Deconstruction." In The Gothic and Theory, 220–39. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427777.003.0012.
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This chapter puts the Gothic and deconstruction in dialogue, resisting the softened deconstruction and light use of tropes such as 'the spectre' in the late works of Jacques Derrida. Instead the focus here is on four spectral moments in deconstruction: the early Derrida's engagement with Abraham and Torok's cryptonomy; the 'lurid figures' in Paul de Man's analyses of Romantic texts that confess what his method of rhetorical reading forecloses; Michel Foucault's early book on Raymond Roussel, which frames its rhetorical analyses within Roussel's death behind a door 'locked on the inside' that (dis)closes the crypt of language that language cannot conceal; and Catherine Malabou's exposure of philosophy to the neurosciences. The latter's exploration of a destructive 'plasticity' in the brain changes in Alzheimers patients opens up an unassimilable 'effraction' that returns us the dark side of deconstruction. Altogether, this chapter suggests that deconstruction's Gothic unconscious is the site of something unprocessed that we must still think through in the wake of poststructuralism.
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Owen, Nicholas. "Conjointness restored?" In Other People's Struggles, 167–81. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190945862.003.0010.
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Chapter 10 defines and assesses five new approaches to adherence which respond to the late-modern obligation of “having to be what one cannot be.” They are drawn from contemporary social and critical theories, especially those influenced by poststructuralist thinking. These involve loosening the obligation to be what one cannot be (intersectionality, chains of equivalence, translation); denying the impossibility of being what one cannot be (Judith Butler’s performativity); being it anyway (Slavoj Žižek’s unabashed approach); sharing incompleteness (Derridean approaches); and beginning from equality (Jacques Rancière). The chapter argues that that each response has its merits and will be attractive to some forms of social movement work, but none of them produces answers with which all movements can be content.
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Lauter, Paul. "The Two Criticisms—or, Structure, Lingo, and Power in the Discourse of Academic Humanists." In Canons and Contexts. Oxford University Press, 1991. http://dx.doi.org/10.1093/oso/9780195055931.003.0011.
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In October of 1966 the Johns Hopkins Humanities Center was the site of an international symposium on “The Languages of Criticism and the Sciences of Man.” The name of the symposium expresses part of its ambition: to model literary criticism on certain “scientific” paradigms. In particular, the meeting was designed to explore the implications of structuralist thinking—and especially that of continental scholars—on “critical methods in humanistic and social sciences.” Whatever the organizers may have meant by “humanistic . . . sciences,” and whatever the value of the conference in examining structuralist thought, as it turned out the symposium will be remembered historically, if at all, as a beginning of poststructuralist analysis in the United States. For at the conference Jacques Derrida made his American debut, delivering a critique of structuralism whose title, “Structure, Sign, and Play in the Discourse of the Human Sciences,” embodied many of the terms and concepts that have since characterized academic criticism in this country. In the two decades after that Baltimore conference, some version of Derridean analysis— call it deconstructionist, speculative, formalist, or, my preference, “ludic”—has come to be increasingly central to the practice of literary study ... at least as it is carried out in the influential academic towers of New Haven and its suburbs across the land. A few months before this event in 1966, and I dare say unnoted at that conference, Stokely Carmichael had posed a new slogan for what had been thought about up to that time as the “civil rights movement.” Carmichael had been arrested by Greenwood, Mississippi police when, on June 16, participants in the march named after James Meredith had attempted to erect their tents at a local black school. During that evening’s rally, Carmichael angrily asserted that blacks had obtained nothing in years of asking for freedom; “what we gonna start saying now,” he insisted, is “‘black power.’” The crowd responded immediately to those words, chanting its “black power” response to Carmichael’s call.