Could there be a better instance of ethical conflict at the scene of the modern Western university than the case of Martin Heidegger, who in 1933 became a Nazi, arguably to elevate his own standing and career? In this article I examine the opposing ethical forces that animated Heidegger’s brief foray into Nazism, to ask whether the same forces continue to be found in the technocratized university described by Bill Readings. I address Heidegger’s own philosophy as a context in which (...) these conflicting ethical forces are confronted, using metaphorical references to Pollyanna and Cujo. This absorption of literary allusions within a contribution to educational philosophy seeks deliberately to break the stranglehold that empiricism has on the discipline of education. It regards the hegemony of empiricism as an ideological fetishism. I am using the work of Jacques Derrida to deconstruct the idea of the university, with Heidegger’s political opportunism as symptomatic of current patterns of self-marketing, self-promotion, and entrepreneurialism amongst academics. (shrink)

The article revisits the theory of hegemony of Ernesto Laclau and Chantal Mouffe and shows how a normative injunction, which according to Laclau is not compatible with the hegemonic logic, is not only possible but a necessary condition for hegemony to function. The article claims that the path to demonstrate this involves rethinking the relationship between the theory of hegemony and Derridean deconstruction. Following criticisms that the theory of hegemony overlooks the aporetic nature of Derridean undecidability that it nevertheless relies (...) upon, the hegemonic logic is submitted to a deconstructive reading, which reveals an internal aporia in it. It is further argued that the unaccounted aporia in the logic of hegemony explains the theory’s inability to satisfactorily account for its essential theoretical underpinning, the radical exclusion. However, the article also demonstrates that the aporia does not destroy hegemonic logic but, instead, supplements it by a normative dimension, by a demand of opening to the other as other. (shrink)

The tension between the absence of identity and the feeling of presence theorised in Jacques Derrida’s philosophy is revealed in D’ailleurs Derrida, a film by Safaa Fathy (1999). Fathy’s film has had limited scholarly attention, yet it makes a distinctive contribution both to understanding and questioning Derridean thought. I argue that the not-meness of identity is revealed by Fathy through the theme of ‘elsewhere’ (ailleurs) in the film and yet it allows the audience to experience the tone and cadence of (...) Derrida’s speaking voice, in counterpoint with contemporary and archival images, thus providing a sense of his philosophy in relation to his life. The film shows how forms of absence such as silence, the not-said, and even pauses are essential to his work. Ultimately the film operates by giving Derrida the location, space, and time to articulate his views on identity, the close relationship between writing and filming, the experience of being ‘the Marrano’s Marrano’, circumcision, forgiveness and hospitality, and absence and presence. Nevertheless, Fathy’s film both reflects and questions his philosophical focus on absence and spectrality through a range of cinematic techniques, including reverse shots and cross-cutting between locations. (shrink)

The tension between the absence of identity and the feeling of presence theorised in Jacques Derrida's philosophy is revealed in D'ailleurs Derrida, a film by Safaa Fathy (1999). Fathy's film has had limited scholarly attention, yet it makes a distinctive contribution both to understanding and questioning Derridean thought. I argue that the not-meness of identity is revealed by Fathy through the theme of ‘elsewhere’ (ailleurs) in the film and yet it allows the audience to experience the tone and cadence of (...) Derrida's speaking voice, in counterpoint with contemporary and archival images, thus providing a sense of his philosophy in relation to his life. The film shows how forms of absence such as silence, the not-said, and even pauses are essential to his work. Ultimately the film operates by giving Derrida the location, space, and time to articulate his views on identity, the close relationship between writing and filming, the experience of being ‘the Marrano's Marrano, circumcision, forgiveness and hospitality, and absence and presence. Nevertheless, Fathy's film both reflects and questions his philosophical focus on absence and spectrality through a range of cinematic techniques, including reverse shots and cross-cutting between locations. (shrink)

The argument of this paper hinges on Derrida's relation to Judaism as a religious heritage and/or as an essential experience. If he can be said to ‘appropriate his Jewish roots’ at all, as Colby Dickinson (2011) has recently proposed, this is not because Derrida concurs that all belief in an ultimate reality (‘as such’) must now be understood in merely conditional terms (‘as if’). Rather, it is because Derrida deconstructs the difference between the Jew and the non-Jew, along with the (...) differences between the ‘as if’ and the ‘as such’ and the performative and the constative, in his very demonstration of the impossibility of ‘being-jewish’. Dickinson thus misunderstands the way in which Derrida appropriates Kant's regulative ‘as if’, and thus misrepresents what is at stake in Derrida's ‘faith’ in ‘Jewishness’. What is at stake is what Derrida calls deconstructive responsibility, and it takes the form of a radical fidelity to the principle of reason (to an ‘unconditional theoreticism’). This responsibility, paradoxically, demands and impels the interrogation of critical thinking itself, with its principles, its essences and its identities. Accordingly, Derrida interrupts both the ‘as such’ and the ‘as if’ with the ‘if’ of a dangerous ‘perhaps’. (shrink)