It is now widely accepted that The Ethics of Deconstruction was the first book to argue for the ethical turn in Derrida's work and to show as powerfully as possible how deconstruction has persuasive ethical consequences that were vital to our thinking through of questions of politics and democracy. Now reissued with three new appendices which restate as well as reflect upon and deepen the book's arguments, The Ethics of Deconstruction is undoubtedly the standard work in the field.

The first book to argue for the ethical turn in Derrida's work, this new edition contains three new appendixes and a new preface where Critchley reflects upon the origins, motivation and reception of 'The Ethics of Deconstruction'.

In Ethics–Politics–Subjectivity, Simon Critchley takes up three questions at the centre of contemporary theoretical debate: What is ethical experience? What can be said of the subject who has this experience? What, if any, is the relation of ethical experience to politics? These questions are approached by way of a critical confrontation with a number of major thinkers, including Lacan, Genet, Blanchot, Nancy, Rorty and, in particular, Levinas and Derrida. Critchley offers a critical reconstruction of Levinas's notion of ethical experience and, questioning the religious pietism and political conservatism of the dominant interpretation of Levinas's work, develops an ethics of finitude which, far from being tragic, opens on to an experience of humour and the comic. Using this reading of Levinas as a way of unlocking the rich ethical potential of Derrida's work, Critchley outlines and defends the political possibilities of deconstruction. On the basis of Derrida's recent work, Critchley attempts to rethink notions of friendship, democracy, economics and technology.

Corporations, and the environments in which they operate, are complex, with changing multiple dimensions, and an inherent capacity to evolve qualitatively. A central premise of this study is that a postmodern reading of ethics represents an expression of, and an engagement with, the ethical complexities that define the business landscape. In particular, the deconstructive philosophy of Jacques Derrida offers a non-trivial reading of a complex notion of ethics, and thereby helps us to develop the skills necessary to critique and intervene in our practices, and to develop robust strategies for living in the absence of prescriptive ethical frameworks. Although a central premise of this study is that substantive ethical claims can only be generated within a given context, the study nevertheless presents readers with a meta-position that illustrates the type of considerations that should inform ethical reflection from a complexity perspective. In order to illustrate the value that this meta-position holds for business ethics, these considerations are explored in terms of the implications that they hold for our understanding of corporate social responsibility, for the practice of responsible management and leadership practices, and for teaching business ethics.

In attempting to conceptualize feminine subjectivity beyond the familiar paradigm of dualism and within the parameters of ethics, this study examines the political and intellectual identity of contemporary poststructuralist feminism and its profound resonance with the nineteenth-century British female Bildungsroman. Rooted in fundamental questions about the nexus between feminist theory and feminist literature, genre and gender, subjectivity and ethics, sexuality and textuality, and mimesis and politics, this book aims specifically to configure feminine subjectivity in the horizon of becoming - always incomplete, non-identarian, performative, unknowable, and thus paradoxically unbecoming - as it disseminates in a modality of alterity in novels by Jane Austen, Charlotte Brontë, and George Eliot. The close reading of major novels by these women writers illuminates the artistic density and ethical depth of their writing by demonstrating that these women writers rewrite the genealogy of subjectivity and invent their own Bildungsroman as a rich narrative vehicle for the feminine.

Focusing on instances of moral pedagogy in novels by Thomas Mann, Albert Camus, Joseph Conrad, and Fyodor Dostoevsky, he suggests that literature uses an aesthetic portrayal of personal relations to introduce scenes of moral tension that illustrate the way ethical claims are made and validated."--BOOK JACKET.

Ethical questions feature prominently on today's cultural and political agendas. The Ethics of Cultural Studies presents an ethical manifesto for Cultural Studies, an exploration of its current ethical and political concerns, and of its future challenges. The book is concerned with ethics in the material world, and draws on examples as diverse as cloning and genetics, asylum and immigration, experiments in plastic surgery and in electronic and digital art, memories of the Holocaust, September 11th, and media representations of violence and crime. The Ethics of Cultural Studies is a groundbreaking intervention that sets the debate on ethics in cultural study, and offers an invaluable source of ideas for students of contemporary culture.

Timothy Findley (1930-2002) is one of the most important contemporary Canadian writers. His novels have been classified as postmodern, exhibiting characteristic features such as parody, historiographic metafiction, and hybrid genres. This classification of Findley as a postmodern writer, however, largely neglects the fact that Findley is deeply committed to the exploration of certain ethical and political themes. Recurring topics in his work are, for instance, fascism, environmental concerns, and the problem of responsibility. Sparked off by the fascinating question of how postmodernism and ethics can be reconciled at all, and inspired by the so-called ethical turn in the literary theory of the 1990s, this study supplies a closer look at Findley's ethics with regard to its postmodern potential. A detailed analysis of five of his novels (The Wars, Famous Last Words, Not Wanted on the Voyage, The Telling of Lies and Headhunter) explores the ethical dimension of Findleys work and its consequences for his categorization as a postmodern writer.

The author aims to show, through a series of case studies of Derrida and others, that postmodern ways of thinking signal the end of history - 'history' especially when taken in either of two forms: the metanarrative on the one hand, and the professional, academic form on the other. -- introd.

Develops the notion of situated ethics and looks into how ethical issues are practically handled by educational researchers in the field.