Presidential Lectures: Jacques Derrida: Deconstruction
DECONSTRUCTION
What is it?
Deconstruction: A school of philosophy that originated in France in the late 1960s, has had an enormous impact on Anglo-American criticism. Largely the creation of its chief proponent Jacques Derrida, deconstruction upends the Western metaphysical tradition. It represents a complex response to a variety of theoretical and philosophical movements of the 20th century, most notably Husserlian phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis.
[First paragraph of a seven-page explanation in the Encyclopedia of Contemporary Literary Theory (Toronto: University of Toronto Press, 1993).]
Deconstruction: The term denotes a particular kind of practice in reading and, thereby, a method of criticism and mode of analytical inquiry. In her book The Critical Difference (1981), Barbara Johnson clarifies the term:
"Deconstruction is not synonymous with "destruction", however. It is in fact much closer to the original meaning of the word 'analysis' itself, which etymologically means "to undo" -- a virtual synonym for "to de-construct." ... If anything is destroyed in a deconstructive reading, it is not the text, but the claim to unequivocal domination of one mode of signifying over another. A deconstructive reading is a reading which analyses the specificity of a text's critical difference from itself."
[First paragraph of a four-page definition of the term deconstruction in J.A. Cuddon, A Dictionary of Literary Terms and Literary Theory, third ed. (London: Blackwell, 1991)].
Deconstruction: School of philosophy and literary criticism forged in the writings of the French philosopher Jacques Derrida and the Belgium/North American literary critic .
Deconstruction can perhaps best be described as a theory of reading which aims to undermine the logic of opposition within texts.
[Start of a four-page definition of deconstruction in A Dictionary of Critical Theory (London: Blackwell, 1996).]
Deconstruction: Rarely has a critical theory attracted the sort of dread and hysteria that deconstruction has incited since its inception in 1967.
[Beginning of an eleven-page entry in A Dictionary of Critical Theory (New York: Greenwood Press, 1991).]
"Deconstruction" as incorporated without meaning into everyday language, associated with "grunge"
...We think we speak the English, or French, of today.
But our English or French language of today is of yesterday and elsewhere.
The miracle is that language has not been cut from its archaic roots -- even if we do not remember, our language remembers, and what we say began to be said three thousand years ago.
Inversely language has incorporated our own times, before even we know, the most recent elements, linguistic and semantic particles blown by the present winds.
Here is an example, which I find magnificent and comic, magnificently comic and comically magnificent, that I have taken from an American magazine destined for the public dated April 1993.
It is the beginning of an illustrated fashion article:
Deconstruction may be the darling of Europe but in the U.S. it's a love-hate thing.
Creases are ironed out, raw edges refined, grunge given a touch of polish.
In New York, memories are not only short, they are entirely selective.
Grunge -- the so-called fashion revolution which has launched a thousand headlines in the past six months -- seemed, at the American collections last week, never to have happened.
Here, in these few lines, treasures snatched from the most noble, the most elaborate, the most complex thoughts and discourses of our century and the sixteenth century imperceptibly touch and are exchanged.
Here, "deconstruction" (though does the woman who goes to buy a dress know what this is?) has become a term that adds a "commercial" mark, a surplus value of "modernism" to domains totally unforeseen by the author of the thinking of deconstruction.
Here is a word derived from philosophical thinking, that of Derrida, which no longer resides in philosophy, but "launches" fashion products, bathroom items, sports equipment, political attitudes.
In brief a word which, having left its native shore, henceforth circulates in the world's blood.
And so this magical word made banal meets (does it know?) another formula equally magical and rendered banal, this on centuries ago, that reverberates under a made-up form in the phrase quoted: The revolution which has launched a thousand headlines.
What makes a comeback here in fashionable dress is Marlowe's beautiful Helen...
[From the Preface written by
(trans. by Susan Sollers) in The Hélène Cixous Reader (London: Routledge, 1994): xx-xxi.]
By Richard Rorty. Excerpted from
The Cambridge History of Literary Criticism -- vol.8 From Formalism to Poststructuralism. Cambridge University Press, 1995.
in the Encyclopaedia Britannica Online.专辑详情new|QQ音乐，音乐你的生活
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Deconstruction
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专辑简介When Meredith Brooks broke through with her 1997 single "Bitch," you could pretty much cut the irony with a knife: a song that was meant to show off her multidimensionality (as well as that of all women) instead became a song that defined her, and in many ways limited her. With Deconstruction, Brooks seems to be trying to take down that graven image piece by piece. Sure, there's plenty of energetic, melodic guitar rock similar to that with which she scored on Blurring the Edges ("I Have Everything," "Shout," "All For Nothing"), but there's also a funky edge to her take on Melanie's "Lay Down" (featuring a guest appearance by Queen Latifah), and some lovely ballads ("Nobody's Home," "Back to Nowhere"). Her lyrics aren't particularly deep (notably the overreaching and unfortunately titled "Cosmic Woo Woo"), but Deconstruction is a follow-up effort that should put an end to the name-calling.
3;Shout|;Meredith Brooks|;Deconstruction|4;234|10|1|1|0|4;0|0|0|0|0|0|1|000mElPf06TI40|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;Lay Down (Candles In The Rain)|;Meredith Brooks|;Deconstruction|4;276|1|1|1|0|4;0|0|0|0|0|0|1|004YE4IF2VuLhI|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;I Have Everything|;Meredith Brooks|;Deconstruction|4;245|2|1|1|0|4;0|0|0|0|0|0|1|001raCbP4Lx5Wq|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;Cosmic Woo Woo|;Meredith Brooks|;Deconstruction|4;215|3|1|1|0|4;0|0|0|0|0|0|1|004KJAwB21GQVW|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
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3;All For Nothing|;Meredith Brooks|;Deconstruction|4;282|5|1|1|0|4;0|0|0|0|0|0|1|000wBg9E1jyMYx|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
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3;Bored With Myself|;Meredith Brooks|;Deconstruction|4;225|8|1|1|0|4;0|0|0|0|0|0|1|mG65U|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;Careful What You Wish For|;Meredith Brooks|;Deconstruction|4;267|9|1|1|0|4;0|0|0|0|0|0|1|002EBUKG1JCzBe|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;Sin City|;Meredith Brooks|;Deconstruction|4;277|10|1|1|0|4;0|0|0|0|0|0|1|002m37ks4VW077|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006
3;Back To Nowhere|;Meredith Brooks|;Deconstruction|4;242|1|1|1|0|4;0|0|0|0|0|0|1|001bCrND4KMx8M|003x4DVU2Q3KBh|0034nWx81fgTlK|0|8006Deconstruction
Deconstruction
March 29, 1996 Brief
Deconstruction as a philosophy, as an architecture, as
a design school, calls on us to QUESTION AUTHORITY, blow
EVERYTHING A P A R T, tear up the roots, find origins, insult the
causes, attack as a wild animal with a mind. Truly how and why
have things come to be?
Deconstruction locates certain crucial oppositions or
binary structures of meaning and value that constitute the
discourse of 'Western metaphysics'. These include (among many
others) the distinctions between form and content, nature and
culture, thought and perception, essence and accident, mind and
body, theory and practice, male and female, concept and metaphor,
speech and writing etc. A Deconstructive reading then goes on to
show how these terms are inscribed within a systematic structure
of hierarchical privilege, such that one of each pair will always
appear to occupy the sovereign or governing position. The aim is
then to demonstrate - by way of close reading - how this system
is undone, so to speak, how the second or
subordinate term in each pair has an equal (maybe a prior) claim
to be treated as a condition of possibility for the entire
system. Thus writing is regularly marginalised, denounced or put
in its place - a strictly secondary, 'supplementary' place - by a
long line of thinkers in the Western tradition, from Plato and
Aristotle to Rousseau, Husserl, Saussure, Levi-Strauss and the
latter-day structuralist sciences of man. But just as often - as
Derrida shows in Of Grammatology - writing resurfaces to
assert its claim as the repressed other of this whole logocentric
tradition, the 'wandering outcast', scapegoat or exile whose
off-stage role is a precondition of the system. And this curious
'logic of supplementarity' operates wherever thinking is
motivated by a certain constitutive need to exclude or deny that
which makes it possible from the outset.
- Chrisopher Norris talking with Jacques Derrida in 1989
From Architectural Design &Deconstruction II&, edited
by Papadakis 1989
Architecture & Digital Media
The angry deconstructive excavations by the 15th century Italian
architects at the foot of the church energized a Renaissance.
Beginning with a controversial self-evident right to see and
illustrate reality they led the restoration of lost ideas refound
in the present - the Roman arch & dome, domestic courtyard.
They retreived their past identity. Nietzche warns that history
is the process by which the dead bury the living. Nonetheless
architects today are encorporating ancient styles, existing
remnants of previous buildings and rexploring our building
assumptions in a deconstructive fashion. Today's architects like
Francis-Ford Bressica define deconstruction with their buildings.
Look at them.
Deconstruction is required
to invent digital media.专辑简介：When Meredith Brooks broke through with her 1997 single "Bitch," you could pretty much cut the irony with a knife: a song that was meant to show off her multidimensionality (as well as that of all women) instead became a song that defined her, and in many ways limited her. With Deconstruction, Brooks seems to be trying to take down that graven image piece by piece. Sure, there's plenty of energetic, melodic guitar rock similar to that with which she scored on Blurring the Edges ("I Have Everything," "Shout," "All For Nothing"), but there's also a funky edge to her take on Melanie's "Lay Down" (featuring a guest appearance by Queen Latifah), and some lovely ballads ("Nobody's Home," "Back to Nowhere"). Her lyrics aren't particularly deep (notably the overreaching and unfortunately titled "Cosmic Woo Woo"), but Deconstruction is a follow-up effort that should put an end to the name-calling.
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Deconstruction for Beginners
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Deconstruction for Beginners任务失败条件：Playboy X死亡剧情：上一次见到X，是和他一起做Elizabeta的任务&Blw your cover&那次了。当时任务结束后会收到X的短信提供工作。去中岛地图北部X的公寓。聊天中见到了Dwayne，刚从监狱中出来的X曾经的大哥。Dwayne想要从倒下的地方从新站起来，但是X却已经不想再和Dwayne合伙做事了，现在的X目标是上流的撤回阶级，梦想是能过成为一个大腕级的地产商，Dwayne在X的眼里已经是过去时代的遗老遗少，敷衍了Dwayne几句话。X给你派了任务：一个建筑工地被黑社会背景的工会集团闹事，施工进程瘫痪，X希望你能够把那些工人领袖全部干掉。攻略：到指定地点，上车拿到武器。X会建议你上高楼楼顶去狙击掉敌人的岗哨，其实不需这些麻烦，在地面上瞄准那些巨型起重机的吊臂边缘，把三个放哨的狙死就可以，然后突入工地进行大规模枪战。鉴于本关的类型，事先的战斗准备还是要考虑一下的。目标是4个工会领袖，每杀死一个下一个就会出现在地图雷达上，中途会不断有敌人出现，这不是第一次大规模枪战关卡了，一些基本技巧也应该很熟悉的了。例如使用自动锁定能力当做探测器发现多在掩体后自己没注意的敌人等等。白送的手雷不要舍不得，根据扔出时的姿势，蹲下&&从地上滚着扔，站立&&从空中抛着扔，按住扳机&&拉环不扔已控制爆炸时机，快按一次扳机&&扔在脚边........抛手雷对付掩体后的敌人时不要使用自动瞄准锁定。打完第三个工头，第四个会开始跑，同时一辆直升机会到来，不过不知是Bug还是什么，第4个工头不会跑出工地，也不会上直升机逃走...Photo Shoot任务失败条件：1，未确认刺杀目标情况下惊动了敌人后，任意一人逃脱 2，确认刺杀目标情况下，刺杀目标逃脱剧情：来到X的公寓，边听他吹嘘自己在功成名就后要为城市做的贡献便看他打台球，其间X提到近来有人在四处散播对自己不利的言论，其中不少言论还是X的秘密，所以此人必须死。因为Niko不能确认目标的脸孔，X送给Niko一款彩屏摄影手机，叫他到目的地后拍相片传送给自己来认人。攻略：说真的，拍照片真的很麻烦无聊，我自己的方法是到了地点拿起枪就轰杀，把眼前的一切活物都打成渣，目标人物在里面就行了，错杀也无妨的。不过如果你有耐心的话一一去拍照，（目标是那个穿黄色夹克板寸头的）然后确认目标后在远处直接狙击头部是最快结束任务的方法。注意的是如果你决定使用灭门战术，一定小心不要让任何一人逃脱，否则任务失败。趣味打法，是到了目的地后先不要进入体育场，到体育场另一边找到那辆灰/蓝的悍马（Patriot），目标AI一定会使用这辆车逃跑的，把这个车的轮胎全打爆，把耐久打到几乎爆炸，然后惊动敌人使其上这个破车逃窜，最后轻易把车子打爆。Intermission本关结束后手机升级，相机功能启动，不过涌出倒是没什么，本关结束后会出现新的小蓝人任务，倒是会需要用到一下手机的摄影能力。
Ruff Rider任务失败条件：在追逐中跟丢了目标人物剧情：Dwayne的状况很糟糕，从里面出来后，昔日的狐朋狗友早已不复当初，要每冷漠无视要么冷嘲热讽。郁闷的Dwayne和Niko说起了自己的前女友当初收到自己多少照顾，而现在又和一个怎样的小白脸鬼混。Dwayne的悲哀某种程度上感动了Niko，使Niko想起了曾经的自己，他向Dwayne保证趋向这对狗男女讨回一点公道。攻略：到唐人街去，到目的点出发剧情，前女友Cherise的小白脸撒腿就跑，你要决定是杀死Cherise还是饶她一命，杀不杀随你，但是不杀的话后期Cherise会作为小蓝人出场给与任务。总之骑上辆机车快速追上去，此次追逐战对方的速度不快，保持小心驾驶开枪在后面打他几下就会掉下来，上去结果掉拿起掉落的钱去交给Dwayne任务完成。Undress to Kill任务失败条件：任何一个舞厅经理逃脱剧情：Swayne持续消沉中，往日属于他的产业现在都被一些牛鬼蛇神霸占了，比如说Bohan的那家脱衣舞厅。Niko答应帮助Dwayne把这家舞厅里现在管事的三兄弟，Jose，Jesus和Javier抹杀，将舞厅物归原主。攻略：其实这关不难，很多人反映的&逃跑&问题，解决的方法不少的。首先到达舞厅，绕四周转一转后找到后门。第一步，使用万恶的堵门大法，泊一辆车紧贴着门，这样里面的人就不能从这个门出来了。第二步，从正门进入后（不要拿任何武器！），刚进入舞厅的左手有一间职员专用室，里面的是第一个经理，使用刀或者球棒杀死他就可以不触动外边的人。第三步，在舞厅四处走走，通过听取人们的对话可以再确认两个雷达上的红点，分别是贴着墙和一个舞女聊天的戴帽子的家伙和在私人舞房里（就是你自己平时花50元看舞的地方）&检验新人&的。按你自己喜欢的方式干掉剩下的两个经理就可以完成任务。The Holland Play剧情：你完成上一个任务后X会打电话给你质问舞厅的事，原来抢了Dwayne产业的就是X。再过一段时间X给你消息，去地图上X的标记触动任务。X表示Dwayne已经疯狂了，想要把X杀死，同时无辜的表示自己试了所有能够和Dwayne调解的路子但是都走不通，所以X&别无选择&的要反击，但是自己下不了手，脏活累活只能够给万能超人Niko了。走出屋子，没多久Dwayne也来电话，说X打算对付自己，Dwayne不甘心就这么被完结，他请求Niko把X处理掉。攻略：2选一，这个到现在算是第一个重要的选择了，从感情带入上来讲，X应该死，从游戏实际效益上来讲，X应该大大的去死。所以不要去红色的D标记，回到X的公寓吧...Niko结论：X和Dwayne之间的事件，真正的问题根源在于X，X放下狠话开始逃跑。迅速杀死屋子里的两个小弟，随着X的路子追上去，然后一路下楼，注意路上会出现一辆载着敌人的悍马，只要保持向车子设计一段时间他们就会撤退。追X到一条小巷，用手枪解决之。Intermission为什么要杀X呢，因为好处实在是太多，首先这个任务完成后，X的公寓归你了，这不仅仅是一间漂亮的屋子而已，还有两个特别的附加要素！公寓的一楼警卫处的电脑可以使用来上网你如果在网吧里胡闹被拒绝服务的话这里的电脑是你的救星；而楼上的衣柜里有隐藏要素，在这个衣柜里，Niko可以选择穿上GTA3的主角Claude Speed的服装！除了公寓外，Dwayne会成为你的朋友，他的友情技能是游戏仅次于Kiki的了：白送你两个小弟，全副武装，拿着AK比你还火力猛的小弟，在大规模枪战任务中，他们的作用极大，退一步讲就算他们不拿AK而是小手枪，在吸引火力方面也是一流的，所以不可以不重视Dwayne的技能。（比较烦得，是和他出去玩时Dwayne婆婆妈妈的讲无聊事，我又不是他的心理医生）。杀死Dwayne的话唯一的报酬就是25000元，以及X的冷嘲热讽.........
Call and Collet任务失败条件：恐吓者逃走剧情：Niko在完成Manny的任务不久后就会收到神秘来电，追寻？去中岛最南方的公园。Niko出乎意料的见到了Francis探长。警长大人掌握了Niko的不少痛脚，以此为要挟，Niko不得不去为Francis做一些黑活。因为警长大人&不过一次的失误&，一些把柄被有心人拿到手了，现在他们来了恐吓消息，要求警长用钱去赎，问题是一旦警长亲自交易，反而更加会铁证如山。Niko的任务是到交易地点，想办法揪出恐吓者。攻略：到指定地点，目标是打电话时，观察人群中可疑者并揪出来，第一次通话基本是没用的，以至下楼梯道最远处（有一个热狗车的附近），这里再打一次电话，看四周并找出讲电话的那个，接近他他就会开始跑，轻易的用枪杀死他。这是自动得到两颗星，给Kiki打个电话消除通缉（或者使用你自己愿意的方法），然后把证据交给警长任务完成。Final Interview任务失败条件：1，错过了面试 2，手持武器去面试 3，未杀死目标就离开 4，未拿取证据就离开 剧情：根据上一关的恐吓者临死的消息，一个名叫Goldberg的律师很有问题。通过Francis警长，果然这个正义的律师手里有很多可以把&大好人&Francis搞臭的资料，Goldberg平时的保安工作无懈可击，你必须想办法搞到一个律师事务所的工作面试以得到和Goldberg面对面的机会，然后解决后患。攻略：如果这时你还没有买一套上品西装的话现在可以去买了，到Perseus买一套漂亮的西装。然后上网进入Ligner & Shyster网站（主页应该就有连接），点击Careers，点击Submit Resume就成功发送了履历表。等一段时间你会收到事务所的电话通知面试时间。到了时候，去事务所，按门铃后去接待台，在接待员的带领下进入Goldgerg办公室。这里，使用刀子杀死目标，然后拿取桌上的文件。打破办公室的玻璃（有几块玻璃好像不行）跳出事务所，给Kiki打电话消除通缉任务完成。如果你使用火器杀死了Goldberg，会触发秘书进来察看的剧情，一大批恶心的保安会上来战斗，战斗狂可以这么玩。Holland Nights任务失败条件：进入指定地点前触发战斗剧情：Francis警长不断的自我催眠自己是一个品行无缺的圣人，这一次他想要Niko解决掉一个作恶多端的渣滓。虽然此人的确该死，但是警长的说辞似乎总是少了几分说服力...攻略：到指定地点后，先走到黄点触发给Francis打电话的剧情，然后再开战。虽说警长有关照不要太高调，以消灭目标为主旨。但是敌人都不强，拿步枪的都没有，从头开始一路清扫过去，上楼直达到顶，（路可能有点绕，但是其实很好走），面对目标Clarence选择是杀死还是放走。不杀的话他后来会作为小蓝人触发任务（不是给与任务，他的小蓝人情节，就是&Clarence的复仇&，所以你大致也能了解这里在情理上该不该放他生路了~）Lure任务失败条件：基础失败条件剧情：果然哪，&好人&Francis警长的杀死Clarence的动机并非是为了伸张正义，一个Clarence的小弟手上有了不利于警长的证据，愤怒的警长要求Niko立刻干掉这个人。问题是此人一直躲在屋子里不露面，要把他引出来是个问题。攻略：去指定地点上车拿取狙击枪弹药，然后到目标家的对面楼顶上瞄准，现在的目的是把他引到可以射击的位置。手段有三种：1，用狙击枪打电视，他有一定的机率会察看窗外，抓住机会爆头。2，用狙击枪打建筑物外的卫星天线，这样他的电视会冒雪花，趁他察看电视时爆头。3，把狙击镜拉近，可以看到他的电话上显示着自己的号码，拨打这个号码（懒得去拉镜的人，直接打吧）让他接电话时爆头。下到街面任务完成。
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