By Simon Morgan Wortham
Derrida wrote an unlimited variety of texts for specific occasions internationally, in addition to a chain of works that painting him as a voyager. As an Algerian émigré, a postcolonial outsider, and an idiomatic author who felt tied to a language that used to be now not his personal, and as a determine obsessed by means of the singularity of the literary or philosophical occasion, Derrida emerges as one whose notion consistently arrives once in a while. yet how are we to appreciate the development in Derrida? Is there a chance that such tales of Derrida's paintings are inclined to misunderstand the basic unpredictability at paintings within the stipulations of his notion? and the way are we to reconcile the significance in Derrida of the unknowable occasion, the pull of the singular, with deconstruction's serious and philosophical rigour and its claims to reconsider extra systematically the ethico-political box. This publication argues that this negotiation in truth permits deconstruction to reformulate the very questions that we go along with moral and political accountability and exhibits this to be the relevant curiosity in Derrida's paintings.
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Additional info for Derrida: Writing Events
Seduction? Death? Language? Poetry? Or are these terms each part of a series of ‘metonymic substitutions’ which each nevertheless seeks (however impossibly) to partition, define, master and hence transcend? ) series of relations – Genet–Sartre– Derrida – comprising the ‘game of seduction and counterseduction’ relayed by an always shifting telegraphic network. 22 (These ‘relations’ would include an entire yet uneven network, featuring influence, fascination, avoidance (with which Derrida’s Of Spirit begins), (telephonic) haunting .
The archivization produces as much as it records the event. (pp. 16–17) Nevertheless, one writing machine that psychoanalysis is able to consider in its own day is the Mystic Pad (der Wunderblock). We might consider this, Derrida tells us, ‘a technical model of a machine tool, intended, in Freud’s eyes, to represent on the outside memory as internal archivization’ (p. 13). However, referring to his earlier text, ‘Freud and the Scene of Writing’, Derrida reminds us that: Freud does not explicitly examine the status of the ‘materialized’ supplement which is necessary to the alleged spontaneity of memory, even if that spontaneity were differentiated in itself, thwarted by a censorship or repression which, moreover, could not act on a perfectly spontaneous memory.
It is from this perspective – that of the originary technicity or tele-effect of obsessional writing – that we may be able to evaluate, in a somewhat different vein than is perhaps usual, ongoing arguments concerning the relationship of writing to technology, encompassing questions about the historical conditions, shifts and effects of the different techniques associated with handwriting, typewriting and electronic writing, and by extension with new forms of media. Such analyses would obviously demand very specific attention, which is more than is possible here.