德里达对海德格尔“爱”的概念的解构

在海德格尔看来,传统的对爱之为爱的追问都奠基于一种形而上学的提问方式之中：存在者是什么。这种提问方式之所以产生的原因是爱由爱恋转化为爱欲。海德格尔想要恢复作为源出和谐状态的爱念。而德里达认为海德格尔的哲学是一种在场的形而上学。他根据踪迹思想对海德格尔的爱之为爱的概念进行了解构。     

Education as Séance: Specters,Spirits, and the Expansion of Memory

In this essay I propose that education be conceived as séance: a place where ghosts are summoned in order that we may come to (speaking) terms with them. Against the backdrop of my own summoning of the ghosts haunting my childhood visits to a nearby castle, I draw on the work of Jacques Derrida to provide a theoretical rationale for the importance of spirits and ghosts. The concepts of inheritance and hospitality place a central role in understanding how to come to terms with ghosts. I conclude with a reflection on the summoning of ghosts in education, and the role of the curriculum as medium in this séance.     

解构批评与文学生产

批评与创作的关系探讨历久弥新,德里达以来的解构主义批评以及耶鲁学派的解构批评实践,给这一关系再添新意,不仅仅是哈特曼鲜明的"作为文学的文学批评"观点出世,更表明了一个新颖的批评现象,即解构主义的批评文本呈现出与以往的批评不一样的特征,它不再满足于阐释、评论和屈居于文学文本,它在积极探索着自己的出路,它是一种富于创造性的文本生成。这种创造性的批评文本既作为批评的理论生成,也作为文学的文本生产。     

Mutatis Mutandis: Writing (After Derrida [After McLuhan {After Joyce}])

This essay plays Jacques Derrida and Marshall McLuhan off of one another and allows each to rub up against the other's voice. It will be argued that these works (which are rarely, if ever, read in conjunction) elicit underlying themes of each other, including similarities found in both their subjects and their reception. A connection via James Joyce will be discussed as well. The “writing” of non-books by Derrida and McLuhan, it will be argued, deconstructs communication form in a manner similar to Joyce, highlighting and applying to Derrida and McLuhan what Samuel Beckett once said of Joyce: “His writing is not about something; it is that something itself.”     

Derrida,Friendship and Responsible Teaching in Contrast to Effective Teaching

Educational theorists working within the tradition of Jacques Derrida and Emmanuel Levinas’s thought, posit teaching to be a site of implied ethics, that is, a realm in which non-violent or less violent relations to the other are possible. Derrida links ethics to the realm of friendship, enabling one to understand teaching as a site of the ethics of friendship. I clarify how friendship, as a re-metaphorization of differance, opens us up to a conception of teaching that provides a counterpoint to the current discourse of ‘effective’ teaching. I draw out the implications of the Derridean conception of friendship for the educator in his or her philosophical orientation towards teaching and attempt to show that friendship points the educator towards an orientation that enables a ‘fine tuning’ and opening up of one’s sense of obligation and responsibility to one’s students in ways that cannot be circumscribed to current or institutionally sanctioned ways of understanding the activity of teaching, especially as it is often envisioned in American public education.     

为马克思辩护--读雅克·德里达的<马克思的幽灵>

苏东剧变并不能证明马克思主义的消亡,相反,没有马克思就没有将来,我们必须在新的历史语境中反复阅读马克思。今天地球上所有的人在某种程度上都是马克思和马克思主义的继承人,都必须接受马克思主义的遗产。针对“新国际”的话语霸权,求助于马克思主义的批判精神是当务之急。这是德里达为马克思所作的辩护,也是我们应当体认的辩护。     

海德格尔"摧毁"对德里达"解构"的影响

德里达与海德格尔之间存在着一种复杂而微妙的关系。德里达曾如此坦言海德格尔对他的影响:“没有海德格尔提出的问题,我想做的工作将是不可能的。”并承认他与海德格尔间的差异是两种哲学和两种书写之间无限小的差异,但同时亦为根本性的差异。不能将海德格尔式的“摧毁”简单地理解成德里达式的“解构”。但不可否认的是,德里达的“解构”正是来源于海德格尔的“摧毁”,并且深受海德格尔的影响。     

Interrupting commemoration: thinking with art,thinking through the strictures of Argentina's Espacio para la memoria

Recently, a few buildings within the Espacio para la memoria in Buenos Aires have been designated as a UNESCO Centre where, amongst other educational activities, evidentiary materials of the past repression are to be stored and displayed. Another building in the complex houses a Community Centre operated by the Mothers of the Plaza de Mayo, where the mandate is to learn about and continue the revolutionary ideals of those disappeared during the repression. Amid these commemorative projects, designating a space for exhibiting art presents a significant opportunity for posing difficult questions, which go beyond the terms of information and idealization. Through a close reading of Diana Dowek's art exhibit, ‘A Long March’, the paper invites us to consider how art can draw out a particular haunting temporality that holds the present open to provocative questions that are difficult to pose and sustain amid the strictures of this commemorative site.     

试论德里达对结构叙事学理论根基的拆解重构

基于其结构论哲学思想之上 ,结构主义叙事学家们一反传统批评家以作品内容为本体、以作家的主观精神为动力的文学叙事观念 ,提出了以文学结构形式为本体、以文学法则程式为动力的新叙事理念 ;德里达从其解构主义思想出发 ,深刻洞察到了结构主义叙事学过分强调文学叙事的普遍统一性而完全忽略了它的具体差异性的致命弱点 ,提出了一种以具体多样的话语文本为本、以能动多变的个人天才创造为动力的新型的文学叙事理论 ,将西方的符号叙事学推向了一个新阶段     

《红楼梦》的不同翻译：以解构主义为基础的综合分析

本论文在借鉴和吸收前人优秀研究的基础上,以翻译辩证系统观为哲学指导,以解构主义为主要理论基础,采用理论与实证、定量与定性、分析与综合的方法,主要以它的两个英文全译本（杨宪益和霍克斯的译文）为研究对象,力求系统掌握解构主义在《红楼梦》翻译乃至整个中国文学翻译过程中的价值所在,进而说明解构主义对文学翻译具有很强的解释力,为文学翻译批评提供新的思路。