Deconstruction

Strategic misinformation is an unavoidable term when addressing the relationship between politics, democracy and mass media in the 21st century. Deliberate propaganda has a long trajectory in our history, and it has existed as long as media has been essential for those in power to represent their interests to large audiences. This thesis analyzes the role of strategic misinformation in mediatized democracies of current times, considering cognitive bias as a crucial element that is highly exploited during the creation of systematic and targeted messages that are spread over the internet and social media. Also, the research investigates how strategic misinformation may be an incidental factor in certain population groups when they decide to be part of democratic processes. Religion and the diaspora in the U.S. are two important factors for Latino and Hispanic voting decisions and interaction with the news. In the theoretical framework, this thesis emphasizes post-truth and truth from a Foucauldian approach, cognitive bias and propaganda. The thesis implements an experiment with 15 participants (liberals and conservatives) and it is divided into three categories: a survey to measure their political inclination; exposure to strategic misinformation created to analyze different levels of trust in news that may go against their ideological preferences; and finally a questionnaire to analyze if a change in the levels of trust was possible. Religious affiliation of participants was a key factor that represented levels of confirmation bias related to the stories they read during the experiment, all of which were politically ideological.

Since the mid-1970s in American academia, a series of articles and books in Sinology (comparative literature) appeared with the attention to rhetoric, contending that the Western sense of allegory/metaphor is absent in Chinese poetics and literature. According to them, the Chinese concept of “allegory/metaphor” has little to do with creation or invention, and is known for its lack of disjunction, which is founded on the monistic worldview that assumes a pre-established unity between the subject and object. Such a representation for Chinese poetics, as this essay argues, constitutes at best a part, or rather, a line of thought in Chinese poetry, which interestingly recalls the symbolist aesthetics challenged by Paul de Man since the late 60s. Tracing the changing observations in major comparative works on Chinese poetics since Qian Zhongshu, the essay considers problems in comparative poetics, the relationship between philosophy-religion-worldview and literature, and understanding of the Self and the Other.

This article argues against all forms of scientism and the widespread perceived need to define martial arts in order to study martial arts or 'do' martial arts studies. It argues instead for the necessity of theory before definition, including theorisation of the orientation of the field of martial arts studies itself. Accordingly, the chapter criticises certain previous (and current) academic approaches to martial arts, particularly the failed project of hoplology. It then examines the much more promising approaches of current scholarship, such as that of Sixt Wetzler, before critiquing certain aspects of its orientation. Instead of accepting Wetzler's 'polysystem theory' approach uncritically, the article argues instead for the value of a poststructuralist 'discourse' approach in martial arts studies.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

“Power is war, the continuation of war by other means”: Foucault’s reversal of Clausewitz’s formula has become a staple of critical theory — but it remains highly problematic on a conceptual level. Elaborated during Foucault’s 1976 lectures (“Society Must Be Defended”), this work-hypothesis theorises “basic warfare” [la guerre fondamentale] as the teleological horizon of socio-political relations. Following Boulainvilliers, Foucault champions this polemological approach, conceived as a purely descriptive discourse on “real” politics and war, against the philosophico-juridical conceptuality attached to liberal society (Hobbes’s Leviathan being here the prime example).
However, in doing so, Foucault did not interrogate the conceptual validity of notions such as power and war, therefore interlinking them without questioning their ontological status. This problematic conflation was partly rectified in 1982, as Foucault proposed a more dynamic definition of power relations: “actions over potential actions”.
I argue, somewhat polemically, that Foucault’s hermeneutics of power still involves a teleological violence, dependent on a polemological representation of human relations as essentially instrumental: this resembles what Derrida names, in “Heidegger’s Ear”, an “anthropolemology”. However, I show that all conceptualisation of power implies its self-deconstruction. This self-deconstructive (or autoimmune) structure supposes an archi-originary unpower prior to power: power presupposes an excess within power, an excessive force, another violence making it both possible and impossible. There is something within power located “beyond the power principle” (Derrida). This (self-)excess signifies a limitless resistantiality co-extensive with power-relationality. It also allows the reversal of pólemos into its opposite, as unpower opens politics and warfare to the messianic call of a pre-political, pre-ontological disruption: the archi-originary force of différance. This force, unconditional, challenges Foucault’s conceptualisations of power, suggesting an originary performativity located before or beyond hermeneutics of power-knowledge, disrupting theoreticity as well as empiricity by pointing to their ontological complicity.
The bulk of this essay is dedicated to sketching the theoretical implications of this deconstructive reading of Foucault with respect to the methodology and conceptuality of political science and social theory.

El artículo presenta los puntos más sobresalientes del reconocimiento constitucional de la diversidad étnica y cultural en Colombia. Para hacerlo, pone en evidencia la ruptura que se presenta entre la justicia de los pueblos originarios y la filosofía política que encarna el pluralismo jurídico. La tesis del artículo, es que el pluralismo jurídico consagrado en la Constitución de 1991 devino en un monolingüismo constitucional, toda vez que supedito el entendimiento particular de la justicia de cada pueblo indígena singularmente considerado, a los axiomas derivados de la lengua de la Constitución y la ley.

Resumen:
Este artículo procura sistematizar la experiencia de sensibilización en género en el marco de diversos programas socio-educativos-laborales en el Uruguay. El objetivo es reflexionar acerca de las perspectivas que tienen dichos dispositivos: tanto cursos, como talleres para la introducción de la mirada de género y su real apropiación y grado de problematización y deconstrucción de estereotipos de género en las prácticas sociales.
La metodología de abordaje consiste en un análisis de tres casos vinculados a experiencias de sensibilización en género que se justifican por sus diversidades en la interrelación entre organismos públicos, sociedad civil, empresas y los distintos públicos objetivos que abordan: tanto adolescentes y jóvenes como adultos de ambos sexos.

This article explores Derrida’s notion of friendship and extends towards a quantum understanding of friendship. It deconstructs and resituates the hegemonic relationship of friend/enemy and develops another notion of friendship based on infinite alterity. We then regard friendship as a way of living . As an attitude to life, friendship is about being-there. It implies recognizing difference, multiplicity as well as lived experience in the moment of becoming. Friendship is about suspending of our immediate inclination to judgment embedded and embodied in theories, narratives, bodies, spatial and material arrangements and expose ourselves to the plural forces of the moment. The quantum understanding of friendship emphasizes that politics of friendship is embedded not only in discourse but also in spatial and material arrangements. It emphasizes the complexities involved in friendship in the sense that the material-discursive apparatuses that we are part of create the conditions and po...

This presentation is a brief introduction to Edwin Thumboo's postcolonialist poetry and the sociohistorical background of Singapore which gives provides it with context.

A short deconstructive analysis is undertaken of Thumboo's poem, Ulysses by the Merlion (1979), with insight from Said's theory of orientalism (and the derivative "re-orientalism").

While Thumboo strives to reject the orientalist poetic paradigm of the colonial era through his poetry, he unintentional reperpetuates them and fails to escape them through the reflection of the vague "East" and "West" in his work.

This paper proposes a deconstructive reading of Flores ni Maria Santisima, a Hiligaynon novena written by Padre Raymundo Lozano and printed in 1867. Set against the economic bustle of nineteenth-century Iloilo after it opened port to foreign trade,the novena demonstrates a homological relationship between capitalism and the practice of spiritual accumulation in the Flores. Nevertheless,teasing out the liminality of this text undermines its self-assurance as a monologic triumph of signification.A recurrent word in the novena, gihapon (always) plays an important transactional role in the promise of a happy death.  As an incalculable event which subverts anticipation, death is a call towards faith without the consolation of certainty. The alterity of death beckons us to respond with Derrida’s perhaps, a trace of gihaponrevealed in the three stories from pananglit(hagiographical narrative): the deathbed experience of St John of God, the Emmaus-like encounter of two priests, and the acquittal of a convicted robber.

“언제 어떻게 하나의 기록이 문학이 되는가?
그때 무슨 일이 일어나는가? 이는 무엇 때문이며 누구 때문인가?”

“프랑스가 지구상에 배출한 가장 위대한 철학자 중 한 사람”(자크 시라크)이자 ‘해체주의’를 창시하여 기존 서양 철학의 전통을 뒤엎으며 현대 철학의 새로운 지평을 열어젖힌 자크 데리다. 그의 문학론을 묶어 펴낸 흥미로운 책이 문학과지성사에서 ‘현대의 문학 이론’ 시리즈로 출간되었다. 한 편의 인터뷰와 열 편의 에세이로 구성된 『문학의 행위』(데릭 애트리지 엮음, 정승훈・진주영 옮김)가 바로 그것.

데리다의 문학론―한 편의 인터뷰와 열 편의 에세이
자크 데리다는 초기작에서부터 문학의 부름을 받아왔다. 희곡, 시, 소설을 포함하여 불어, 독어, 영어로 된 텍스트에 이르기까지 ‘문학’에 대한 데리다의 글은 넘쳐난다. 이 책은 이러한 광범위한 문학 텍스트들에 대한 데리다의 응답들 다수를 몇 가지 기준에 따라 선택하여 한자리에 모은 것이다.
데리다와의 인터뷰를 포함해 모두 11편의 글로 이루어진 이 책은 루소, 말라르메, 카프카, 블랑쇼, 조이스, 퐁주, 첼란, 그리고 셰익스피어에 이르기까지 문학과 철학 사이의 접면을 전례 없는 방식으로 횡단하며 데리다 특유의 해체적 독서를 시도한다. 이렇듯 책에 실린 데리다의 텍스트들이 응답하고 있는 구체적인 작품들은 문학의 모든 행위—행위와 기록—이다. 즉 관습적이고 제도적으로 ‘문학적’이라고 범주화된 작품들이자, 또한 어떤 식으로든 문학을 수행하고 상연하며 그것의 법을 수립하거나 의문시하는 작품들, 제도와 범주를 확인하는 동시에 그것들로부터 내적인 거리를 두고 작동하는 작품들. 이런 의미에서 데리다의 텍스트들 또한 ‘문학 행위’라 말할 수 있을 것이다.
책 서두에 실린 인터뷰는 ‘문학’과 ‘철학’의 문제를 비롯해 정치, 역사, 페미니즘 등 다양한 분야에 걸쳐 있는 데리다 사상의 면모를 그의 육성을 통해 답하고 있다는 점에서 더욱 흥미로운 독서를 제공한다. 엮은이인 데릭 애트리지의 세심한 편집 또한 이 책이 지닌 미덕이다. 상세한 머리말과 한 챕터 분량의 개론, 그리고 데리다와의 인터뷰는 이 선집이 갖는 의도와 의미를 충실히 전달한다. 뿐만 아니라 각 글들 첫머리에 핵심과 맥락을 짚어주는 소개글을 덧붙임으로써, 난해하기로 악명 높은 데리다 텍스트를 이해하는 실마리를 던져준다.

“문학이라 불리는 이상한 제도”―데리다와 문학의 문제
그렇다면 데리다에게 ‘문학’이란 무엇인가? 문학 연구에 몸담아온 모든 이들에게 핵심적일 수밖에 없는 이 질문은 플라톤과 아리스토텔레스 이래의 서양 철학 전통 내에서도 끊임없이 반복하여 제기되어왔다. 이는 결국 문학적 질문이 아니라 철학적인 질문이다. 이 질문은 문학의 본질에 대한 진술을, 문학을 문학이 아닌 모든 것과 구별하는 요소를 추궁하기 때문이다. 따라서 “문학이란 무엇인가?”라는 질문은 “철학이란 무엇인가?”라는 질문과 분리될 수 없으며 문화, 정치, 윤리 혹은 역사를 포함한 모든 고려 속에 내포되어 있다.
이 책에서 데리다가 강조하는 바는 “문학이 하나의 제도”라는 점이다. 그에 따르면 “자체적으로 문학적인 텍스트란 없”으며, “문학은 자연적으로 혹은 머릿속에서 주어진 것이 아니라 역사적, 지리적으로 지도를 그릴 수 있는 사회적, 법적, 정치적 과정에 의해 생겨났다.” 특히 17세기 혹은 18세기 이래 서구 민주주의 국가들에서 경험해온 문학이라는 제도는, 우리 주변의 여러 언어적 실천 가운데서도 문학을 독특한 어떤 것으로 만드는 특징을 지니고 있다. 데리다는 바로 그 특이성을 강조한다. “관습과 규칙 등을 가진 역사적 제도로서의 문학, 그러나 또한 원칙적으로 모든 것을 말할 힘을 가진, 이러한 규칙을 어기고 이를 몰아냄으로써 자연과 제도, 자연과 관습법, 자연과 역사 사이의 전통적 차이점을 도입하고 발명하고 더 나아가 의문시하는 그러한 제도로서의 문학.”
이러한 의미에서 거의 최초와 다름없는 이 문학 선집이 갖는 의미는 각별하다고 할 수 있다. 서구의 사고방식을 가능하게 한 숨겨진 조건으로서 ‘문자’를 탐구하는 것이 바로 ‘해체’라 불리는 데리다의 작업이었고, 따라서 그의 작업은 서구 사상을 대표하는 구체적인 작품들에 밀착한 연구일 수밖에 없기 때문이다. 우리에게 잘 알려진 데리다의 ‘철학 텍스트 읽기’가 아닌 ‘문학 텍스트 읽기’ 작업을 한데 모은 이 책은, 이런 의미에서 난해하기 짝이 없는 ‘해체’란 현상을 이해하는 또 다른 길잡이가 되어줄 것이다. 뿐만 아니라 데리다 작품에 나타난 문학, 즉 문학 텍스트와 문학이라는 제도의 의미를, 그리고 문학에 있어서의 데리다 저작의 의미를 새롭게 생각해보는 계기를 마련해줄 것이다.

루소, 말라르메, 조이스, 퐁주, 카프카, 셰익스피어……
‘문학’과 ‘철학’ 사이를 종횡무진 횡단하는 지적 사유의 모험
이렇듯 문학 텍스트에 대한 데리다의 글쓰기는 어떠한 관습적인 의미에서도 논평이나 비평, 해석이 아니다. 데리다의 글쓰기는 문학작품을 위치 짓거나 장악하거나 철저히 규명하거나 번역하거나 꿰뚫어보지 않는다. 문학에 대한 데리다의 텍스트는 문학적인 정도 이상으로 철학적인 것은 아니라 해도 여전히 철학적인 질문에 사로잡혀 있으며, 문학 텍스트에 의한 철학의 해체가 감지될 수 있는 방법을 찾는다. 그렇게 함으로써 문학에서 문학적인 것이 무엇인지를 전면에 내세운다. 문학이라는 단어를 글쓰기나 법과 같은 용어로 만드는 그 무엇, 문학이 속한 담론과 제도를 뒤흔들 수 있는 그 무엇 말이다.
1장 「“문학이라 불리는 이상한 제도”」는 엮은이인 데릭 애트리지와 자크 데리다와의 인터뷰로 책 전반을 아우르는 구체적인 질문과 답변을 통해 ‘문학’과 ‘철학’의 문제를 흥미진진하게 풀어냈다. 인터뷰는 데리다의 제안으로 성사되었으며 이전에 출판된 적은 없다. 2장 「“이 위험한 대리보충”」은 데리다의 주저 『그라마톨로지』  제2부 2장으로, 루소 텍스트들 가운데 ‘대리보충’이라는 단어의 변덕스러운 사용에 주목했다. 3장 「말라르메」는 제목 그대로 말라르메 작품에 관한 짧은 논의를 담고 있다. “문학적”이기도 하고 그렇지 않은 것으로 분류되기도 하는 말라르메의 글쓰기는 문학과 문학 비평의 전통적인 범주를 뒤흔든다. 데리다에게 말라르메가 야기하고 징후화하는 위기는 새로우면서도, 또 아주 오래된 것이기도 하다. 4장 「첫번째 세션」에서 데리다는 어떻게 해서 미메시스가 진리 개념과 밀접히 연관되어왔는지를 보여준다. 이를 위해 데리다는 미메시스 개념의 내적 모순들이 분명히 드러나 있는 플라톤의 『필레보스』 발췌본과, 그 모순들을 구체적으로 보여주는 말라르메의 짧은 산문시 「미미크」를 겹쳐놓는다. 5장 「법 앞에서」는 이 글에서 인용하는 카프카 우화의 제목과 동일하다. “문학이란 무엇인가?”라는 자기 심문적 질문은 카프카의 짤막한 우화 「법 앞에서」에 대한 폭넓은 독해에서 다시금 제기된다. 6장 「장르의 법칙」은 5장 「법 앞에서」와 묶여 풍성하게 읽힐 수 있다. 「장르의 법칙」은 다른 문학 텍스트에서 출발하여, 법과 법의 대리인들에 대한 의무의 문제와 씨름하며, 또한 그 문제에 다가가는 데 있어서의 문학의 중요성을 붙잡고 늘어지는 에세이다. 7장 「율리시스 축음기: 소문으로 들은 조이스의 예스」는 조이스에 관한 데리다의 에세이로, 제9회 국제 제임스 조이스 심포지엄의 초청으로 개회 연설을 했을 당시 발표한 글이다. 8장 「「프시케: 타자의 발명」 중에서」에서 데리다는 프랑시스 퐁주를 논하며 ‘발명’이라는 이슈를 통해 ‘타자’라는 문제를 다룬다. 9장 「『시네퐁주』 중에서」는 8장에 이어 퐁주를 다루며, 서명과 고유명사라는 서로 밀접하게 연결된 문제에 매진한다. 10장 「『쉬볼렛: 파울 첼란을 위하여』 중에서」는 첼란 시에서 따온 여러 가지 모티프를 통해 그 이중적 특성에 초점을 맞추는데, 이 글에서는 암호 쉬볼렛, 할례, 재 그리고 날짜가 포함된다. 데리다가 “날짜의 수수께끼”라 부르는 이 특성이 이 글에서 가장 두드러진 주제를 이루고 있다. 마지막으로 11장 「아포리즘 대응시간」은 1986년 『로미오와 줄리엣』 파리 공연에 앞서 다니엘 메스기슈의 초청으로 마련된 데리다의 강연을 계기로 씌어졌다. 이 희곡은 서구 문화 역사 전체에 걸쳐 지속되는 문제점들을 표출하고 있음과 동시에 가장 친숙하고도 재소비되는 아이콘들 중 하나다. 데리다는 이 같은 두 가지 특성에 반응하고 이 둘을 대응시간에 초점을 맞춰 연결시킨다.

개론: 데리다와 문학의 문제_ 데릭 애트리지
1장 “문학이라 불리는 이상한 제도”_ 자크 데리다와의 인터뷰
2장 “이 위험한 대리보충”
3장 말라르메
4장 첫번째 세션
5장 법 앞에서
6장 장르의 법칙
7장 율리시스 축음기: 소문으로 들은 조이스의 예스
8장 「프시케: 타자의 발명」 중에서
9장 『시네퐁주』 중에서
10장 『쉬볼렛: 파울 첼란을 위하여』 중에서
11장 아포리즘 대응시간

Print und PDF hier: https://www.transcript-verlag.de/978-3-8376-4239-1/das-denken-der-buehne/

Theater und Philosophie – dieser Band vereint erstmals zwei paradigmatische, historische Konstellationen: zum einen jene von der Zusammenarbeit mit Walter Benjamin geprägte Theatertheorie und -praxis Bertolt Brechts, die sich in den »Lehrstücken« und im Fragment »Der Messingkauf« findet. Zum anderen die in gegenwärtigen Theater- und Theoriediskursen einander korrespondierenden Redeweisen von Theater als einer Form des szenischen Denkens (William Forsythe u.a.) und von Philosophie als einer Form des Theaters (Jacques Derrida, Samuel Weber). Die Beiträge aus Philosophie, Theater- und Literaturwissenschaft analysieren das Theater der Philosophie und fragen, wie Theater denkt.

Mit einem Beitrag von Jacques Derrida.

INHALT

Vorwort | 7

SHAKESPEARES THEATERDENKEN

The Merchant of Venice
(Auszug)
William Shakespeare | 23

„When mercy seasons justice“
Vorbemerkung zu einer Vorlesung Jacques Derridas
Nikolaus Müller-Schöll | 29

Was ist eine „relevante“ Übersetzung?
(Auszug)
Jacques Derrida | 33

NACH BRECHT UND BENJAMIN

Über Theater überhaupt und das Theater des Menschen
Benjamin, Brecht, Derrida, Le Roy
Nikolaus Müller-Schöll | 59

Die Bühne mit der Bühne denken
Zu Pirandellos Sechs Personen suchen einen Autor und Brechts
Der Messingkauf
Lydia J. White | 81

Besessen vom Theater
Der Dibbuk am Habima Theater Moskau (1922)
Freddie Rokem | 95

(Musik-)Dramaturgische Verfremdungen
Zur Aktualität von Brechts Naturalismuskritik
Tore Vagn Lid | 117

SZENISCHE KONSTELLATIONEN

Die Bühne des Denkens
Über den Dialog von Manes und Empedokles in Hölderlins
Empedokles auf dem Ätna
Jörn Etzold | 137

Zur Dekonstruktion der Bühne bei Antonin Artaud
Timo Ogrzal | 155

Heideggers Schweigen vom Theater
Marten Weise | 167

Konstellationen denken
Ulrike Haß | 181

ANDERE CHRONOTOPOGRAPHIEN

„Hold your breath against time“
Zum Denken einer Widerständigkeit der Zeit bei William Kentridge
Julia Schade | 201

Was heißt: sich im Tanzen orientieren?
Zwei verschiedene Denkweisen auf der Bühne
Leonie Otto | 215

Entzug und Bezug
Das Theater der Affizierbarkeit in Walid Raads
Scratching on Things I Could Disavow
Leon Gabriel | 229

CHORA UND TOPOS

Die denkende Bühne
Samuel Weber | 249

Autorinnen und Autoren | 273

Teks analisis ini adalah kritik atas dekonstruksi Derrida. Inilah apresiasi, akan lahirnya kembali metafisika yang kaya, merdeka dan penuh makna. Kritik atas Derrida, sama sekali bukan meruntuhkan, tetapi membaca ulang dan menemukan “maksud” dari upaya pembongkaran teks. Sebetulnya secara detil, tidak ada salah paham dengan logosentrisme dan dekonstruksi. Hanya saja, ekstrim terhadap teori tertentu bisa menyebabkan mis-komunikasi. Menenun teks baru secara terus-menerus, berarti memproduksi maknamakna tanpa pernah berhenti. Aktivitas penafsiran adalah produktivitas yang sangat baik, terlebih sebagai upaya untuk memberi terang akan geliat batin kepada orang lain. Komunikasi dari hati ke hati.

Biblical archaeology questions the historic accuracy of a large part of the Old and New Testament. It is one more step in the deconstruction of Christianity. However, what might first seem to be a break in the foundations of the faith, in all reality turns out to be more consistent grounding. The idea of the Bible is to help describe the vital stimulus that led a people longing for freedom and justice to deify their origins and condition. The most elaborate expression of this stimulus of awareness is love. It is manifested in Jesus of Nazareth in a supra-ethical way through his predilection for the poor and suffering. This overflowing dignity is a new means of transcendence from the bottom. When reason "founders" in view of scientific contradictions or major questions, it "bursts" to shed light on a new meaning for religion and more universal ethical and secular expressions.

Construction and demolition waste represents a significant wastage of natural resources and energy while also contributing to air pollution. Measures to reduce construction waste include flexibility in design of new buildings and recovery of materials and components from existing buildings or adaptation of existing buildings to new uses. Although prolonging the building life through designing for adaptation can reduce the rate of demolition, the low rate of renewal of buildings means that material recovery and whole building reuse are equally important in minimising construction waste. While quality of recovered material/component depends on the original design and recovery process, there is a lack of measures to promote the use of recovered materials. Changes in decision making on how buildings are designed, demolished and reused can therefore significantly improve the resilience of building stock and reduce the adverse impacts. While theoretical underpinnings of designing for deconstruction or adaptation of existing buildings are well established, their practice depends more on location, policy issues and incentives. The paper discusses the preliminary findings from a research project which aims to develop a set of guidelines on designing for flexibility based on life-time environmental and financial performance of alternative strategies and generate data on relative environmental performance of recovered construction materials/components compared with their virgin alternatives used in Singapore.

U različitim diskurzima govor o identitetu poprima različite konotacije. Na jednoj sasvim svakidašnjoj razini, koja se nerijetko izjednačava s medijskom, govor o identitetima odnosi se na socijalnu dimenziju, odnosno na onu dimenziju koja čovjeka vidljivim i vanjskim pokazateljima pozicionira unutar društvene mreže. Tako se može govoriti o etničkim, nacionalnim, rodnim i rasnim identitetima koji u svojoj mnogostrukosti izražavanja pružaju kolažnu sliku koju tzv. postmoderno društvo forsira i eksploatira. Takvi identiteti su društveno konstruirani i nazivaju se socijalnim identitetima. U svakodnevnim društveno - političkim raspravama najviše se raspravlja upravo o tom vidu identiteta, dok se osobni identitet kao apstraktni teorijski koncept ostavlja za teorijsko filozofijske analize. Ovaj rad se bavi načinom na koji se osobni identitet stvara, ragrađuje i ponovno uspostavlja unutar fikcionalnog djela. Riječ je o romanu Newyjorška trilogija američkog pisca Paula Austera, koji je kod nas prošao nezapaženo, neoprezno se svrstavajući na police knjižara pod područje krimića, pridonoseći korpusu tzv. lake književnosti. S druge strane, jasno je da bi bilo pretenciozno i pomalo pompozno Newyoršku trilogiju svrstati u područje tzv. teške književnosti , no namjera ovog rada je da pokaže neke u nas zanemarene dimenzije romana, a koje će se ponajviše ticati načina konstruiranja identiteta likova i autora; implikacijama takve konstrukcije na romanesknu strukturu te dvojničkom konstrukcijom likova.
Teorijski korpus na koji se ovaj rad naslanja i s kojim se dovodi u vezu obuhvaća raznorodne tradicije, povezujući Wittgensteinovu kasniju fazu s nekim aspektima dekonstrukcijske filozofije jezika, te pogledom na dvojništvo Renate Lachmann. Osnovna namjera rada je da se, uz pomoć poredbenog teorijskog uporišta, pokaže kako je osobni identitet u Newyjorškoj trilogiji diskurzivno utemeljen, odnosno kako je on produkt načina funkcioniranja jezika, što nudi mogućnost antiesencijalističkog utemeljenja osobnog identiteta, čime se izbjegava metafizičko utemeljenje identiteta u konačnom označitelju. Kada govorimo o antiesencijalističkom utemeljenju osobnog identiteta, valja napomenuti da se taj koncept odnosi na osobni identitet likova unutar fikcionalnog djela. Kako će se pokazati, osobni identitet likova, zbog svoje zamjenjivosti i fragmentarnosti na nivou narativa romana, ne sadrži neko čvrsto uporište u vidu stabilne biti, nekog konačnog označitelja koji mu propisuje esenciju i određuje njegovo značenje. Konkretnije, rad će se baviti načinom na koji su identiteti likova i autora konstruirani u Newyorškoj trilogiji, s posebnim osvrtom na dvojničku strukturu likova.
Newyorška trilogija sastoji se od triju kratkih romana – Stakleni grad, Duhovi, Zaključana soba -  naizgled nepovezanih, no nakon što se pročita posljednja stranica knjige, otvara se mogućnost gledanja na trilogiju kao na cjelinu sastavljenu od dijelova jedne te iste priče, s jednakim identitetnim strukturama likova.

Extended review and discussion of Emily Apter's "Against World Literature: On the Politics of Untranslatability" (New York: Verso, 2013). The book's most powerful argument, in my view, is that the "untranslatable" profitless excreta of the world's literatures are both the matter with which to rethink comparison and the limits of the inflationary World Literature industry.

This essay investigates the marked disappearance of body horror elements in David Cronenberg’s films since A History of Violence (2005). While the absence of body horror’s conventional iconography is undeniable in Cronenberg’s recent cinema, the essay contests that this disappearance signals a departure from his longstanding investment in the politics and spectacular possibilities of flesh. By developing Jacques Derrida’s discussion of contemporary capital punishment’s ‘anesthesial logic’ in The Death Penalty Vol. 1, I contend that Cronenberg’s apparently fleshless cinema functions anesthetically whereby his avoidance of the shocking iconography that characterizes his archive does not signal its complete erasure. Rather than eradication, anesthetics redirect the anticipated avenues of synesthetic transmission and perception; in Cronenberg’s cinema, they generate a virtual encounter with the 'fleshiness' distinguishing the Cronenbergian signature. The essay begins its discussion of ‘Cronenberg’s anesthetics’ through an analysis of the short video, The Nest (2014), and then proceeds to identify how this mode of concealment functions throughout his films since 2005.

Interrogating the relationship between reading, writing and ‘conversion disorder’, this creative-critical essay explores the eversion of the glove in the work of Woolf, Genet, Freud and Derrida. Gathering together reflections on gloves and glove anaesthesia, doubles and pairs, and flowers and the death knell (glas), it offers a series of literary, philosophical and psychoanalytic conversions in order to return to and rethink the question of ‘disorder’.

Recent researches on building construction and deconstruction seem to suggest that, from a theoretical point of view, the criteria for buildings' connection selection might lead to scenarios of total material recovery and would allow the closing of the material loop cycle.
This paper presents the first step of a research that aims to create a knowledge base about the relation between buildings' connections and material recovery. As in Architecture were building design is often approached with top-down strategies, main literature consulted also presents a top-down thinking in building connections and joining framing were these themes hardly are the central focus. Therefore, as an alternative, a bottom-up or inductive approach to buildings' connections is necessary in order to obtain a more solid knowledge support on the topic. Connections' classifications need to be linked together in order to form a larger view of connections
complexity and related issues.

This essay examines questions of home and identity in a postcolonial Caribbean context. Situating itself in the dialogue between continental philosophy and postcolonial theory, this research explores how identity formations are processes which negotiate fragmentary demands of being as well as the various ruptures and dislocations that are resultants of colonization. This paper proposes that in thinking of postcolonial identities, we must explicitly and necessarily consider multiplicity, alterity, diaspora, and interstitial spaces. Focusing on Merle Hodge's novel Crick Crack, Monkey, this essay thinks through protagonist Tee's process of becoming, a process which is fluid, dynamic, and never complete. In doing so, this research explores questions about race, enslavement, bearing witness, language, space and place, and (literal and metaphoric) diasporic movements.

The definition of 'Technology' that excludes African tradition and indigenous knowledge is colonial. Defining technology plays into the centuries-long negative evaluation of Africa and undermines development. We are at pains to emphasize STEM subjects while ignoring other subjects and African technological history. Academia tends to define 'technology' exclusive of indigenous knowledge and non-mechanized, non-digitized methodologies. We need to bring African technologies into focus as foundational, precedent-setting coequals with other technologies. Using design methodology and paradigms, we critically examine the historical exclusion of African indigenous knowledge and the conflicts that this exclusion has created in Kenyan education from early childhood to postgraduate work. The authors propose a new Three Rs: Range, Repertoire and Resilience.

In the modern world, all the classical notions of meaning, reality, knowledge and truth are doubted more than ever and fixed realities are missing; therefore, the modern era can be named as a decentered universe. In the post-modern conditions of this age, all the grand theories, which used to be believed, have started to shatter and at the same time everything that has once been reliable have started to be questioned. Living in a patriarchal society can be perceived as the hegemony of males and it is concluded by the oppression of female ones because the dominancy of a gender upon the other one leads the less dominant group to be silenced or ignored. However, an intellectual, educated woman can resist this and deconstruct her role as the domestic, sacrificing caretaker of children and household by working and undertaking new roles in the society. The aim of this paper is to discuss the deconstruction of the roles of the two females, Lala and Melanctha, in Getrude Stein's Three Lives and Sandra Cisneros's Caramelo together with the details from the novels.

In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity.

Somewhat counter-intuitively, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights.

The book's theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates over relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.

“The classics are back. Naomi Waltham-Smith lifts the critical analysis of style to the next level with the freshest and most radical reimagining of the classical masters we have seen in a long time. In prose of fire and fervor, Waltham-Smith puts Haydn, Mozart, and Beethoven in the ring with Badiou, Agamben, and Nancy and raises the stakes in what it means for music to be human. A performance of dazzling intellectual virtuosity.”—Michael Spitzer, University of Liverpool

“Do not enter these pages expecting to find the Viennese Classical Style of your peers. Brace yourself instead for a complete repurposing of every element of that style and of almost everything that has been said about it.  Nothing is lost on Naomi Waltham-Smith, and it is exhilarating to watch her wrest this music from its perceived foundations and urge it into the teeming vortex of her critical imaginary.”—Scott Burnham, Graduate Center, City University of New York

El destino de Occidente se juega en su compromiso con las exigencias de la razón. La Academia, cuyo fruto más poderoso ha sido la Universidad, es el espacio donde la Razón puede desplegar todo su potencial. Sin embargo, esta potencia radical del pensamiento es, a la vez, un elemento al servicio de la organización política y una fuerza anárquica que amenaza con dinamitar sus estructuras mismas. Esta ambivalencia de la razón explica la ambigüedad de la relación entre la Academia y la Política, una relación de conflicto y tensión. La misión de la Academia, en última instancia, será la de velar por la dignidad irreductible de los hombres, en su sustracción respecto a las lógicas de la reproducción social y a las exigencias económico-técnicas de la Ciudad. El lugar ambivalente de la Academia, espacio por antonomasia de todo humanismo, es de alguna manera utópico, un lugar imposible tanto de arrancarlo de la ciudad como de inscribirlo en su centro. Pensar hoy el humanismo implica, por ello, pensar la Academia como la “extraña entraña de Occidente”, pensar el destino mismo del mundo occidental en el rescate del hombre respecto a su ineludible instrumentalización y sumisión al orden económico.

The destiny of Western civilization depends on its commitment to the exigencies of reason. The Academy, whose most prominent result has been the University, represents the place where Reason can explore all its potential. However, this radical potency of thought is, at the same time, an element that serves the political organization, and an anarchic force that threatens to detonate the very foundations of the State. This ambivalence of reason explains the ambiguity of the relationship between the Academy and Politics, a relationship full of conflicts and tensions. Ultimately, the mission of the Academy is to guard human dignity, irreducible to the social and technical logic of political organization. The ambivalent place of the Academy, the womb of humanism, is an utopic place, in between the margins and the centre of the State. To think on humanism, hence, implies to think Academia as the “strange entrails of Western civilization”, and entails the commitment to rescue humanity from its inescapable tendency to be instrumentalized and subjected to the economic order.

The article proposes a typology of meaninglessness based on the semiotics of Charles S. Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience gained while riding Japanese buses. Meaninglessness, however, is not insignificance. Insignificance is a much more disquieting anthropological condition, which the article describes with reference to two symmetrical processes: on the one hand, the euphoric passage from significance to insignificance, a passage meant as the “birth of new meaning”; on the other hand, the dysphoric passage from significance to insignificance, a passage which coincides with the alienation of human existence. Through several examples take from present-day societies, the article advocates for an active role of semiotics in warning human communities against the “emergence of insignificance” and its potential of violence and exploitation.

Pulp's so-called working-class anthem "Common People" positions itself in a twofold way towards the concept of authenticity, namely constructing and deconstructing it at the same time. Ths paper examines the different versions of "Common People", including the official music video, two live recordings, and of course the lyrics.