The following event dates back more than twenty years, when I made contact for the first time with the Otomi Indians in the craggy regions of the eastern Sierra Madre. At that time I went through life fortified by the hope and inspired by the naiveté and enthusiasm that I would add a supplementary stroke of the brush to the ethnographic picture of Indian Mexico. The disposition of my mind was far from that of a researcher seized by the expectancy (...) of the unforeseen, desirous to change the all too static and stereotypical image of the autochthonous communities that the academic tradition had created of the Americas. (shrink)

"In this newest installment in Chicagos series of Jacques Derridas seminars, the renowned philosopher attempts one of his most ambitious goals: the first truly philosophical argument against the death penalty. While much has been written against the death penalty, Derrida contends that Western philosophy is massively, if not always overtly, complicit with a logic in which a sovereign state has the right to take a life. Haunted by this notion, he turns to the key places where such logic has (...) been established - and to the place it has been most effectively challenged: literature. With his signature genius and patient yet dazzling readings of an impressive breadth of texts, Derrida examines everything from the Bible to Plato to Camus to Jean Genet, with special attention to Kant and postWorld War II juridical texts, to draw the landscape of death penalty discourses. Keeping clearly in view the death rows and execution chambers of the United States, he shows how arguments surrounding cruel and unusual punishment depend on what he calls an 'anesthesial logic, ' which has also driven the development of death penalty technology from the French guillotine to lethal injection. Confronting a demand for philosophical rigor, he pursues provocative analyses of the shortcomings of abolitionist discourse. Above all, he argues that the death penalty and its attendant technologies are products of a desire to put an end to one of the most fundamental qualities of our finite existence: the radical uncertainty of when we will die. Arriving at a critical juncture in history - especially in the United States, one of the last Christian-inspired democracies to resist abolition - The Death Penalty is both a timely response to an important ethical debate and a timeless addition to Derridas esteemed body of work"--Unedited summary from book jacket. (shrink)

Le modèle européen, après une histoire médiévale riche et complexe, est devenu prévalent, c'est-à-dire classique, depuis deux siècles dans les Etats démocratiques. L'université devrait alors connaître, selon l'auteur, la liberté inconditionnelle de questionnement et de proposition.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Deux textes composent cet adieu : l'hommage prononcé par Derrida aux obsèques d'Emmanuel Levinas suivi d'une lecture de Levinas à partir de la notion d'accueil et l'élaboration "subjugante" du concept d'accueil.

The people's theatre : a long drawn-out affair -- The cultural historic compromise -- The philosopher's tale : intellectuals and the trajectory of Gauchisme -- Joan of Arc in the Gulag -- The inconceivable revolution -- Factory nostalgia (notes on an article and various books) -- The ethics of sociology.

The aim of this book is to show how supramolecular complexity of cell organization can dramatically alter the functions of individual macromolecules within a cell. The emergence of new functions which appear as a consequence of supramolecular complexity, is explained in terms of physical chemistry. The book is interdisciplinary, at the border between cell biochemistry, physics and physical chemistry. This interdisciplinarity does not result in the use of physical techniques but from the use of physical concepts to study biological problems. (...) In the domain of complexity studies, most works are purely theoretical or based on computer simulation. The present book is partly theoretical, partly experimental and theory is always based on experimental results. Moreover, the book encompasses in a unified manner the dynamic aspects of many different biological fields ranging from dynamics to pattern emergence in a young embryo. The volume puts emphasis on dynamic physical studies of biological events. It also develops, in a unified perspective, this new interdisciplinary approach of various important problems of cell biology and chemistry, ranging from enzyme dynamics to pattern formation during embryo development, thus paving the way to what may become a central issue of future biology. (shrink)

The head and the stomach January 1996 -- Borges in Sarajevo March 1996 -- Fin de siècle and new millenarium May 1996 -- Cold racism July 1996 -- The last enemy November 1996 -- The grounded plane January 1997 -- Dialectic in the dialectic August 1997 -- Voyage to the country of the last sociologists November 1997 -- Justice in the past April 1998 -- The crisis of art or a crisis of thought July 1998 -- Is cinema to blame (...) March 1999? -- The nameless war May 1999 -- One image right can sweep away another October 1999 -- The syllogism of corruption October 2000 -- Voici/voila : the destiny of images January 2001 -- From facts to interpretations : the new quarrel over the holocaust April 2001 -- From one torture to another June 2001 -- The filmmaker, the people and the government August 2001 -- Time, words, war November 2001 -- Philosophy in the bathroom January 2002 -- Prisoners of the infinite march 2002 -- From one month of May to another June 2002 -- Victor Hugo : the ambiguities of a bicentenary August 2002 -- The machine and the foetus January 2003 -- Death of the author or all too living artist April 2003 -- Logic of amnesia June 2003 -- The principle of insecurity September 2003 -- The new fictions of evil November 2003 -- Criminal democracy March 2004 -- The difficult heritage of Michel Foucault June 2004 -- The new reasons for the lie A\august 2004 -- Beyond art October 2004 -- The politics of images February 2005 -- Democracy and its doctors May 2005. (shrink)

Le chez-soi a toujours été travaillé par l'autre, et par l'hôte, et par la menace de l'expropriation. Il ne s'est constitué qu'à l'ombre de cette menace. Néanmoins, on assiste aujourd'hui à une expropriation nouvelle, à une déterritorialisation, à une délocalisation, une dissociation si radicales du politique et du local, du national, de l'Etat-national et du local, que la réponse, il faudrait dire la réaction, cela devient - je veux être chez moi, je veux être chez moi, je veux être chez (...) moi enfin, avec les miens, auprès de mes proches. Cela n'est même pas une réponse d'ailleurs, ce n'est pas une réactivité secondaire qui vient en quelque sorte compenser, réagir après-coup, non, c'est le même mouvement. Il appartient à la constitution du propre et relève de cette loi d'ex-appropriation dont je parlais plus haut - pas d'appropriation sans possibilité d'expropriation, sans la confirmation de cette possibilité. Prenons l'exemple de la télévision. La télévision introduit dans le chez-moi l'ailleurs, et le mondial, à chaque instant. Je suis plus isolé, plus privatisé que jamais, avec chez moi l'intrusion en permanence, par moi désirée, de l'autre, de l'étranger, du lointain, de l'autre langue. (shrink)

A prominent feature of American political consciousness is a desire to propagate democracy throughout the world. In our enthusiasm to share what we enjoy, Jacques Barzun sees that little attention is paid to exactly what we are trying to distribute. Through a brief historical survey of democracy, he shows that our popular conception of the term does not correspond with any particular definition. U.S. democracy has no central text and is distinctly different, in theory and in practice, from the (...) democracy of other states, both historical and contemporary. Democracy is an abstract ideal that is a function of time. Its present incarnation in the United States emphasizes freedom and equality through the means and language of specific personal rights. Barzun sees an internal tension in this formulation, one that ultimately threatens both freedom and equality if exported to the rest of the world. (shrink)

"The cinema is, as a photographic medium, an art form of light. But the mastery of lightning and the 'dark' side of his rhizomatic, interactive net have led very early to the configuration of shade and shadow and refer, ergo, to something which is perpetually related to all forms of figurative art. To film, 'night' means, however, something different, as it brings the configuration of the skies in a state of darkness with it. This is in disagreement with his usual (...) depiction. It entails embarking on a singular figurative project, which approximates a contradiction in itself. This project demonstrates the autonomy of the configuration process precisely through this contradiction.". (shrink)