FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W311684189> ?p ?o ?g. }

• W311684189 startingPage "91" @default.
• W311684189 abstract "The analogy between Plato's notion of khora in the Timaeus and Derrida's notion of khora as a surname for differance should include the mythic elements described in the opening verses of Genesis. The elements are not an irrational chaos but provide a principle of indeterminacy that gives creation unprogrammability; risk, and the possibility of the event. ********** Imagine this unimaginable scene: Jacques Derrida--a man of prayers and tears, on his knees, on a prie-dieu, like a weepy Augustine, coram deo, or like a woman blinded by tears weeping at the foot of the Cross. Imagine this: Derrida--the least and last of the Jews, a Jew in virtue of an alliance never kept yet never broken, a Jew without quite being Jewish enough, who only learned enough Hebrew to get through his bar mitzvah; always at least as much a Jewgreek or a Greekjew, or rather someone who situates himself in the distance between the Greek and the Jew, not to mention the Arab also. Derrida: the author of an odd sort of Jewish Augustinian confession that is neither Jewish nor Augustinian, a man of faith, who affirms a messianic but without a Messiah, who practices a secret religion about which no one knows anything, not even his beloved mother, who should have known something about it, a religion without religion according to the strange grammar of the sans. I have always been fond of tracing the ambiguous traces and distorted memories of the religious tropes and figures that play back and forth across his texts. I am not saying that he himself always remembers them--he played hooky from Hebrew school too often to have studied them closely. Perhaps they are remembered for him by Levinas, or sometimes perhaps by Benjamin or Blanchot or many others. I have long been interested in his tears. He is famous for his laughter, for outraging the academic establishment with his playful spirit, but I am held captive by his tears. Why is he weeping? Over what? Is he perhaps laughing through his tears? And why is Derrida, who rightly passes for an atheist, praying? What is he praying for? And to whom? Could it be that there is a memory of God inscribed in deconstruction, whether or not he himself remembers? In the approach I make to Derrida, the odd way he spells differance does not spell the death of God or the destruction of religion, but a certain repetition of religion, a reinvention of a certain religion. How could it be otherwise? For deconstruction, which is in the business of opening up things--beliefs and practices, texts and institutions--and of releasing their future, does not spell the simple death of anything. Derrida knows very well that the dead have a peculiar way of living on. Above all, God, who is one of the most famous and holiest ghosts the West has known, with a well known capacity for burying his own grave diggers, with a long line of resurrections and returnings from the dead to his credit, is especially difficult to kill off, almost impossible. (God is dead--Nietzsche. Nietzsche is dead--God.) Indeed deconstruction does not kill things off, but engages them in a spectral, hauntological interplay. It weaves back and forth between our most hallowed spirits and ancient memories, and the most open-ended affirmation of what is coming, its come (viens) coming as it does in the middle of the exchange that is always taking place between the revenant and the arrivant, between mourning and messianic expectation. So it is not surprising to find in Derrida's texts the regular, almost rhythmic appearance of certain versions or unusual adaptations, certain memories, of the most classical biblical figures--like hospitality and forgiveness, for example, or the prophetic call for justice, or the Messiah and the promise, or prayer, or the name of God, of course. Or khora, which will be my example here, which may not seem to be an obvious candidate for this list. I will sketch here how Derrida's reinscription of khora into deconstruction is, as often happens, not a purely Greek operation but a Jewgreek one, and how the khoral picture of things that emerges in deconstruction has, accordingly, an oddly biblical flavour. …" @default.
• W311684189 created "2016-06-24" @default.
• W311684189 creator A5020346214 @default.
• W311684189 date "2006-09-01" @default.
• W311684189 modified "2023-09-26" @default.
• W311684189 title "Before Creation: Derrida's Memory of God" @default.
• W311684189 hasPublicationYear "2006" @default.
• W311684189 type Work @default.
• W311684189 sameAs 311684189 @default.
• W311684189 citedByCount "2" @default.
• W311684189 countsByYear W3116841892012 @default.
• W311684189 countsByYear W3116841892021 @default.
• W311684189 crossrefType "journal-article" @default.
• W311684189 hasAuthorship W311684189A5020346214 @default.
• W311684189 hasConcept C111472728 @default.
• W311684189 hasConcept C124952713 @default.
• W311684189 hasConcept C128481406 @default.
• W311684189 hasConcept C138885662 @default.
• W311684189 hasConcept C142362112 @default.
• W311684189 hasConcept C150152722 @default.
• W311684189 hasConcept C166957645 @default.
• W311684189 hasConcept C27206212 @default.
• W311684189 hasConcept C2777239683 @default.
• W311684189 hasConcept C2778692574 @default.
• W311684189 hasConcept C2779870438 @default.
• W311684189 hasConcept C521332185 @default.
• W311684189 hasConcept C85085810 @default.
• W311684189 hasConcept C91304198 @default.
• W311684189 hasConcept C95457728 @default.
• W311684189 hasConceptScore W311684189C111472728 @default.
• W311684189 hasConceptScore W311684189C124952713 @default.
• W311684189 hasConceptScore W311684189C128481406 @default.
• W311684189 hasConceptScore W311684189C138885662 @default.
• W311684189 hasConceptScore W311684189C142362112 @default.
• W311684189 hasConceptScore W311684189C150152722 @default.
• W311684189 hasConceptScore W311684189C166957645 @default.
• W311684189 hasConceptScore W311684189C27206212 @default.
• W311684189 hasConceptScore W311684189C2777239683 @default.
• W311684189 hasConceptScore W311684189C2778692574 @default.
• W311684189 hasConceptScore W311684189C2779870438 @default.
• W311684189 hasConceptScore W311684189C521332185 @default.
• W311684189 hasConceptScore W311684189C85085810 @default.
• W311684189 hasConceptScore W311684189C91304198 @default.
• W311684189 hasConceptScore W311684189C95457728 @default.
• W311684189 hasIssue "3" @default.
• W311684189 hasLocation W3116841891 @default.
• W311684189 hasOpenAccess W311684189 @default.
• W311684189 hasPrimaryLocation W3116841891 @default.
• W311684189 hasRelatedWork W1583760985 @default.
• W311684189 hasRelatedWork W174661572 @default.
• W311684189 hasRelatedWork W1992190974 @default.
• W311684189 hasRelatedWork W2009865250 @default.
• W311684189 hasRelatedWork W2317326691 @default.
• W311684189 hasRelatedWork W2324834744 @default.
• W311684189 hasRelatedWork W2481718803 @default.
• W311684189 hasRelatedWork W2486400119 @default.
• W311684189 hasRelatedWork W2493193350 @default.
• W311684189 hasRelatedWork W2519887136 @default.
• W311684189 hasRelatedWork W270809004 @default.
• W311684189 hasRelatedWork W278874373 @default.
• W311684189 hasRelatedWork W298259693 @default.
• W311684189 hasRelatedWork W314774450 @default.
• W311684189 hasRelatedWork W336246569 @default.
• W311684189 hasRelatedWork W847002829 @default.
• W311684189 hasRelatedWork W88395252 @default.
• W311684189 hasRelatedWork W2229655709 @default.
• W311684189 hasRelatedWork W2613300873 @default.
• W311684189 hasRelatedWork W51589832 @default.
• W311684189 hasVolume "39" @default.
• W311684189 isParatext "false" @default.
• W311684189 isRetracted "false" @default.
• W311684189 magId "311684189" @default.
• W311684189 workType "article" @default.