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Derrida, Jacques
(redirected from Derridean)

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Derrida, Jacques (zhäk` dĕr'rēdä`), 1930–2004, French philosopher, b. El Biar, Algeria. A graduate of the École Normale Supérieure in Paris, he taught there and at the Sorbonne, the École des Hautes Études en Sciences Sociales, Paris, and a number of American universities. In his famously dense and complex writings he refuted the theory of structuralism structuralism, theory that uses culturally interconnected signs to reconstruct systems of relationships rather than studying isolated, material things in themselves. This method found wide use from the early 20th cent.
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 and attempted to take apart, or "deconstruct," the edifice of Western metaphysics and reveal what he deemed its incompatible foundations. In Of Grammatology (1967, tr. 1976), for example, Derrida contended that Western metaphysics (e.g., the work of Saussure Saussure, Ferdinand de , 1857–1913, Swiss linguist. One of the founders of modern linguistics, he established the structural study of language, emphasizing the arbitrary relationship of the linguistic sign to that which it signifies.
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, whose theories he rejected) had judged writing to be inferior to speech, not comprehending that the features of writing that supposedly render it inferior to speech are actually essential features of both. He argued that language only refers to other language, thereby negating the idea of a single, valid "meaning" of a text as intended by the author. Rather, the author's intentions are subverted by the free play of language, giving rise to many meanings the author never intended.

Derrida had a major influence on literary critics, particularly in American universities and especially on those of the "Yale school," including Paul de Man, Geoffrey Hartman, and J. Hillis Miller. These deconstructionists, along with Derrida, dominated the field of literary criticism in the 1970s and early 1980s. Influential in other fields as well, the philosophy and methodology of deconstruction deconstruction, in linguistics, philosophy, and literary theory, the exposure and undermining of the metaphysical assumptions involved in systematic attempts to ground knowledge, especially in academic disciplines such as structuralism and semiotics.
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 was subsequently expanded to apply to a variety of arts and social sciences including such disciplines as linguistics, anthropology, and political science. Derrida's writings include Writing and Difference (1967, tr. 1978), Margins of Philosophy (1972, tr. 1982), Limited Inc. (1977), The Post Card (1980, tr. 1987), Aporias (tr. 1993), and The Gift of Death (tr. 1995).

Bibliography

See C. Norris, Derrida (1987); A. Z. Kofman, dir., Derrida (documentary film, 2002).


Derrida, Jacques

(born July 15, 1930, El Biar, Alg.—died Oct. 8, 2004, Paris, France) Algerian-born French philosopher. Derrida taught principally at the École Normale Supérieure in Paris (1964–84). His critique of Western philosophy encompasses literature, linguistics, and psychoanalysis. His thought is based on his disapproval of the search for an ultimate metaphysical certainty or source of meaning that has characterized most of Western philosophy. Instead, he offers deconstruction, which is in part a way of reading philosophic texts intended to make explicit the underlying metaphysical suppositions and assumptions through a close analysis of the language that attempts to convey them. His works on deconstructive theory and method include Speech and Phenomena (1967), Writing and Difference (1967), and Of Grammatology (1967). Among his other works are Psyche: Invention of the Other (1987) and Resistances of Psychoanalysis (1996).



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Following Attridge's (2005) insightful essay, this article also returns to Foe, and appropriates Grabe's (1989: 176) observation that "the Derridean notion of the textualisation of all experience" informs the work, and therefore rereads it as a commentary on, and critique of, one of Jacques Derrida's most influential essays, "La Pharmacie de Platon".
Strong's Derridean impulse to draw attention to characters on the "fringes" is interesting, but she seems to operate under the assumption that the validity of her readings is dependent upon her ability to disparage the critics who preceded her.
But, as Foster shows, the avant-garde to come is not of the Derridean a-venir kind, which is always shaping up and "never quite that," always eluding determinate designation.
 
 
 
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