These three volumes assemble the most important essays written on Jacques Derrida's philosophy since he became established in 1967. These volumes make well-known essays easily available and also present many essays never translated in English.

Buku ini adalah kumpulan dari tiga wawancara dengan Jacques Derrida yang menjelaskan dan memberi akses kepada istilah dan konsep rumit yang diperlakukan secara ekstensif dalam karya-karya semisal Writing and Difference dan Dissemination. Derrida mengambil posisi selaku pengkritik, penyokong, dan mereguk dua kesenangan utama dalam kehidupan seorang intelektual Prancis, yakni Marxisme dan psikoanalisis. Wawancara yang terdapat dalam edisi ini menawarkan ragam pandangan Derrida, mulai dari wawancara yang berisi pernyataan ringkas tentang prinsip-prinsip hingga diskusi panjang lebar yang menyentuh beragam polemik yang timbul dari karya-karya Derrida. Selamat membaca!

Jacques Derrida: Key Concepts presents a broad overview and engagement with the full range of Derrida's work - from the early phenomenological thinking to his preoccupations with key themes, such as technology, psychoanalysis, friendship, Marxism, racism and sexism, to his ethico-political writings and his deconstruction of democracy. Presenting both an examination of the key concepts central to his thinking and a broader study of how that thinking shifted over a lifetime, the book offers the reader a clear, systematic and fresh examination of the astounding breadth of Derrida's philosophy.

Buku ini, yang terbit di Prancis dengan judul Voyous, berisi dua kuliah umum Derrida yang diberikan pada tahun 2002 untuk meneliti fondasi-fondasi kedaulatan negara-bangsa. Istilah État voyou adalah terjemahan bahasa Prancis untuk istilah Inggris rogue state, digunakan oleh para penguasa global terkemuka untuk menyebut negara-negara tertentu yang tidak patuh hukum internasional, dan terhadap label inilah Derrida mengujinya habis-habisan secara ketat. Untuk melakukannya, Derrida menguji sejarah dari konsep kedaulatan itu sendiri yang diusung Bodin, Hobbes, Rousseau, Schmitt, dan masih banyak lagi. Ketika mengkaji latar belakang ini, dia harus menjelaskan pemahamannya tentang ‘demokrasi akan datang’ (democracy to come), yang dibedakan dengan jelas dari jenis ideal regulatif apa pun, atau cakrawala teleologis mana pun. Ide bahwa demokrasi akan selalu tetap ada di masa depan ini bukanlah sebuah gagasan yang terikat waktu. Sebaliknya, frasa ini lebih merujuk kepada ‘datangnya selalu hal lain yang masih belum terlihat sekarang’, dan struktur peristiwanya jelas melampaui kalkulasi maupun program apa pun yang kita gunakan saat ini. Kalau begitu, Derrida memadukan pemahamannya tentang demokrasi ini dengan logika yang sudah dia selidiki sebelumnya. Namun bukan hanya filsafat politik yang dibedah secara dekonstruktif di sini: Derrida menyediakan banyak asesmen tajam dan keras menohok realitas-realitas politik kontemporer, khususnya, esai-esai di buku ini ketat menyoroti makna di balik peristiwa-peristiwa yang muncul di dunia pasca 9/11. * Ide Derrida yang tajam tentang ‘demokrasi akan datang’ akan menjadi warisan utama pemikiran filosofisnya, dan bagi siapa pun yang bergelut di bidang ini, buku ini adalah rujukan yang esensial. Times Literary Supplement Negara Begal adalah refleksi paling cemerlang tentang hubungan dekonstruksi dengan teori politik pada umumnya, dan dengan ide demokrasi pada khususnya. ... Sangat direkomendasikan untuk dibaca siapa pun. CHOICE

Jacques Derrida: Live Theory is a new introduction to the work of this most influential of contemporary philosophers. It covers Derrida's corpus in its entirety - from his earliest work in phenomenology and the philosophy of language, to his most recent work in ethics, politics and religion. It investigates Derrida's contribution to, and impact upon such disciplines as philosophy, literary theory, cultural studies, aesthetics and theology. Throughout, the key concepts that underpin Derrida's thought are thoroughly examined; in particular, the notion of 'the Other' or 'alterity' is employed to indicate a fundamental continuity from Derrida's earliest to his latest work. The text emphasizes the importance of understanding Derrida's philosophical heritage as the key to understanding the interdisciplinary impact of his project. In the wake of Derrida's death, the book includes an "interview" that interrogates the very notion of "live" theory as a way into the core themes of deconstruction.

First published in 1992, this book represents the first major attempt to compile a bibliography of Derrida’s work and scholarship about his work. It attempts to be comprehensive rather than selective, listing primary and secondary works from the year of Derrida’s Master’s thesis in 1954 up until 1991, and is extensively annotated. It arranges under article type a huge number of works from scholars across numerous fields — reflecting the interdisciplinary and controversial nature of Deconstruction. The substantial introduction and annotations also make this bibliography, in part, a critical guide and as such will make a highly useful reference tool for those studying his philosophy.

This important new book argues that Jacques Derrida’s work can be treated as the basis for a distinctive historiography. The possibility of seeing Derrida not as a philosopher of language but as a philosopher of history has become more apparent with the recent publication of Derrida’s 1964-1965 seminar Heidegger: The Question of Being and History. We now know that the problem of history was at the heart of Derrida’s writing in the mid-1960s, prior to the publication of his best-known work, Of Grammatology (1967). Arguing that Derrida's scholarship in the 1960s and early 1970s on historicism, historicity and the problem of history can be treated as the basis for a philosophy of history, Sean Gaston focuses on Derrida's work from the mid-1970s to the mid-1990s and his relentless questioning of context, memory and narrative as the delineation of a deconstructive historiography. The book raises a challenge for historians to think about both deconstruction and historiography, arguing that contemporary philosophy can provide a basis for thinking about history in the name of a deconstructive historiography that is not incompatible with rigorous historical scholarship.

death of Jacques Derrida in 2004 represented a major interruption in contemporary intellectual life. This death calls for an engagement with Derrida's work and an attempt to understand his legacy. Such a discussion is fraught with tension between remaining faithful after death and putting Derrida's writing to work in new directions, posing challenges and exposing limitations. In short this legacy is, necessarily, a negotiation. The aim of this book is to grapple with this specific theme and to explore the implications of Derrida's death for the future of critical thought itself. The authors demonstrate that there is no single way to adopt or inherit Derrida's thought. Rather, through their engagement with contemporary themes within Politics and International Studies, Philosophy, Literary Studies and Postcolonial Studies, each chapter illuminates the degree to which on-going reflection, radical critique, and above all radical self-critique are demanded by deconstruction. This book provides the key st

Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction. Author Timothy Holland interweaves historical and speculative modes of research and writing to articulate the peripheral-yet surprisingly crucial-place of the cinematic medium for Derrida and his philosophical enterprise. The outcome is a meticulously detailed survey of the centers and margins of Derrida's oeuvre that include forays into such terrain as: his notable appearances in films; an unrealized project on cinema and belief that Derrida proposed in a 2001 interview; the correspondences between the strategies of deconstruction and the traditions, homecomings, and wordplay of David Lynch's cinematic media; and the questions wedded to the future of film studies amid the vicissitudes of the modern, virtual university. Ultimately, Holland pursues the thinking activated by the flickering of Derrida's cinema-not only the absence and presence of film in Derrida's professional and personal life, but also the rigor of academic discourse and the pleasures of the movies, ghosts and technology, religious faith and scientific knowledge, and ruination and survival-as a critical chance for reflection.