New debate over the definition and significance of death has arisen in both analytic and continental philosophy. Derrida's work is permeated with the topic, which he claimed was the one most resistant to inquiry. Discussions of it by Naas, Miller and Hägglund have been limited by anthropomorphic approaches. This paper analyzes six of Derrida's contributions to thanatology, which for convenience are called ‘figures’: death as inherent in survivre; as specter; as given or put, as the Marrano's secret; as conjured by (...) the death penalty; and as a nothingness to which we owe ourselves. Considered as efforts toward some constative formulation, each new foray recalls more familiar Derridean touchstones such as différance or trace; each disputes Heideggerian speculations on death as boundary or authenticity. However, these figures' most salient feature is a shift from the constative to the performative mode, which momentarily suggests death's concomitance with speech acts. (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)

International education tests, such as the Organization for Economic Co-operation and Development International Student Assessment and Trends in International Mathematics and Science Study , steer the debate about education, form the image of a school, and specify the goals and objectives of the curriculum. Thus praise, prizes and other positive reinforcements become common methods in school. Through Franz Kafka's Letter to his Father I examine encouragement and teacher praise, which are, when we look into it, held in the grip of (...) behaviourism. I take issue with this dominant thinking and make an attempt to go beyond praise and encouragement as positive reinforcements of desired behaviours that are postulated in advance. I make an educational argument out of Heidegger's phenomenological term, Ereignis, and suggest that teachers ought to praise that which the student is suited for and not only when they have fulfilled the demands of the curriculum. I also make an educational argument out of two Derridaean terms, hospitality and forgiveness, and claim that teachers ought to give back -- through praise and encouragement -- the students' self-respect, whatever their faults. Instead of being manipulative and serving narcissistic needs, praise ought to serve an education for democracy. (shrink)

The recent publication of the translation of Jacques Derrida’s Athens, Still Remains, a small volume of photographs and commentary, affords an opportunity to probe Derrida’s reflections on death and therefore on life as well. Looking at photographs and objects of everyday life, Derrida emphasizes the deferred yet certain nature of death and the way in which this deferral opens the opportunity to devote ourselves to life. His grounding of his philosophical and deconstructionist argument in contemplation of material fragments (the photographs (...) of ruins and scenes from the recent past of Athens) invites a comparison with the writing of sociologist Georg Simmel on ruins, time and death. Both writers attempt to discover practices of survival, the techne of affirming life in the face of death. For both of them these practices are sociological as well as philosophical, individual as well as collective, and aesthetic as well as intellectual. While their reflections thematically converge, their strategies for the affirmation of life are not identical, and we contrast Derrida’s approach, rooted in a concept of being in the world and a connection to others, to Simmel’s analysis which is focused on the role of culture and the force of the human spirit. Reconstructing a conversation between Derrida and Simmel and examining their intellectual rapprochement deepen our thinking about temporality and death as we confront the question ‘How are we to live?’. (shrink)