Philosophy

This text approaches some contemporary works in the visual arts (works by G. Penone, R. Smithson, C. Casanova) which present different relations and dispositions of a material taken to be natural: stone. I intend to revisit the distinctions presented by Heidegger between mere things, utensils and works of art, as well as between stone, animal and man in connection with the world. Furthermore, I will discuss dislocations regarding such issues, based on indications from deconstruction (Jacques Derrida and other authors). I aim to indicate some of the meanings under which deconstructive approaches are fruitful for thinking about contemporary movements within the scope of what Derrida calls “spatial arts”.
KEYWORDS: Visual arts. Heidegger. Deconstruction. Derrida.

This text starts from the deconstruction of the visible, inscribed in texts of Jacques
Derrida. In the photograph, the visibility of what appears is linked to the notions of
perspective and framing, which evoke the centrality of the photographer's gaze in relation
to the captured scene. It will be shown how these notions are deconstructed by Derrida's
senses of photo-graphy, by emphasizing the term -graphy and its implications for the
image’s presentation. An approximation between the quasi-concept of photo-graphy
(Derrida) and what Borges denominates ur objects is proposed, indicating how both
authors calls into question ontological determinations of the photographic image. The
supposed primacy of the moment, as if the photography joins the temporalities of who
photographs and of what is photographed, can also be deconstructed, as will be
emphasized in the dialectic between instant, wait (espera) and expectation. Such
approaches will enable to think, finally, of the spacings of contemporary photography,
based on the photographical work of Miguel Rio Branco.
Keywords: photography – time – Derrida – Borges - Miguel Rio Branco

The present text focuses on the problem of limits or boundaries, thematized through two converging themes in Jacques Derrida's writings: the question of the ends of man and the problem of human-animal limitrophies. Thence, I will firstly address the arguments from Derrida's The Ends of Man, written in 1968 and published in Margins of Philosophy. It will be then indicated how Derrida correlates both notions of end and limit within this text by deconstructing the anthropological interpretations ascribed to Hegel, Husserl and Heidegger. Finally, it will be shown how the notions of end of man as much as of human and animal limits are developed later, when Derrida revises the question of borders, their transgressions and differences in the following texts: Aporias: Dying-Awaiting (One Another at) the 'Limits of truth' (1994); The Animal that Therefore I am (1999); The Beast and the Sovereign (2001).
Keywords: deconstruction, phenomenology, anthropologism, animal, limit,
boundary

RESUMO Este artigo enfoca o modo como a teoria husserliana da lembrança se insere, por um lado, na estrutura signifi cativa formulada primeiramente nas Investigações lógicas e, por outro, nos moldes da percepção como unidade temporal. Para tanto, apresenta-se, respectivamente na primeira e na segunda seções, o arcabouço das teorias husserlianas da signifi cação e da percepção como retenção. Na terceira seção, é analisada a segunda forma de lembrança-a rememoração-, segundo o fi o condutor em que Husserl a investiga nos contextos da atenção, retenção, afecção e inconsciente. Finalmente, será considerado se o núcleo teórico da primazia do signifi cado e do fl uxo da consciência é, de fato, uma base propícia para a compreensão da lembrança em seu caráter de signo. ABSTRACT This paper focuses on how Husserl's theory of memory is introduced, both in his signifi cant structure, that was fi rst formulated in the Logical Investigations and in the patterns of perception as a temporal unit. The fi rst and second sections show, respectively, the framework of Husserl's theories of meaning and perception as retention. In the third section, the second mode of memory-recollection-is analyzed according to the thread that Husserl investigates in the contexts of attention, retention, affection and

ABSTRACT
This text begins with Derrida’s considerations about Hegel's philosophy, more specifically,  regarding the "dialectic of master and slave" and Hegel's theories about the sign and symbol. Then it passes through Husserl's conceptions about language, ap-presentation of the other, symmetry and asymmetry. Referring again to other texts of Derrida in which the themes of language and otherness appear in a deviant way in relation to logocentric discourses, this paper highlights the question of difference that, between symmetry and asymmetry, refracts into a language of appropriating and to an idea of unilateral or purely mutual recognition.
KEYWORDS: Derrida; Hegel; Husserl; language; otherness

ZUSAMMENFASSUNG
Dieser Text geht von der Frage nach der Wahrheit, die durch
die Rekonstruktion der Auseinandersetzung zwischen drei Vertreter des
zeitgenössischen philosophischen Denkens dargelegt wird, nämlich: Edmund
Husserl, Jean-Luc Marion und Jacques Derrida. Wenn bei Husserl das Problem
der Wahrheit mit der Analyse der verschiedenen Modalitäten der Anschauung
zusammengehört, in denen sich das Phänomen bewusst eintritt, wiederum mag
Marion de Darstellungsweise des Phänomens mit dem Begriff „Gegebenheit“
(donation) umfassen: somit schließt diese nicht nur die Modalitäten der
Anschauung ein, sondern auch die Intentionalität selbst, die sich irgendein etwas
wendet. Nun weißt Derrida durch die Dekonstruktion der phänomenologischen
Begriffe Anschauung und Gegebenheit darauf hin, dass die phänomenologische
Betrachtung nicht ausreicht, um Zusammenhänge und Umstände nachzudenken,
in denen sich die Wahrheit ohne anschaulichen Zug, ohne subjektive Intentionalität
und in Widerstand gegenüber ihrer eigenen Sichtbarkeit anzeigt. Solche Nuancen
hebt Derrida hervor, indem er die Gegebenheit und die „Gabe“ (don) kontrastiert,
und schließlich, indem er der Wahrheit den Charakter des Zeugnisses (témoignage)
zuschreibt.
Schlüsselwörter: Wahrheit – Anschauung – Gegebenheit (donation) – Gabe (don)
– Zeugnis (témoignage)
RESUMO
Este texto parte da questão da verdade, que será pensada reconstruindo-se
o diálogo entre três autores, no âmbito do pensamento fi losófi co contemporâneo:
Edmund Husserl, Jean-Luc Marion e Jacques Derrida. Num primeiro momento,
será mostrado que, se em Husserl o problema da verdade vinculou-se à análise dos
modos em que o fenômeno se mostra à consciência em diferentes modalidades
de intuição (Anschauung), Marion, por sua vez, pretende abarcar as formas
de manifestação do fenômeno no conceito de doação (donation): este passa
a abranger não somente as modalidades de intuição, mas também a própria
intencionalidade que se volta a algo. Num segundo momento, será indicado
como Derrida, ao desconstruir as noções fenomenológicas de intuição e doação,
insinua que a questão da verdade tratada pela fenomenologia é insufi ciente para
se pensar contextos e circunstâncias em que a verdade pode se apresentar sem
caráter intuitivo, sem intencionalidade subjetiva e em resistência à sua própria
manifestação. Tais nuances Derrida sublinha ao contrastar a doação ao dom (don)
e, fi nalmente, como se verá na terceira parte do texto, ao atribuir à verdade o
caráter de testemunho (témoignage).
Palavras-chave: verdade – intuição – doação – dom – testemunho

In Critics of pure reason the notion of affection appears at first in the
"Transcendental Aesthetic" (B 67-69, 93) and is unfolded on the notion of selfaffection
in the "Transcendental Analytic" (B 153-156). Husserl, in manuscripts
written from 1918 (Husserliana XI), presents some developments of these
Kantian notions. If by affection Kant explains that something can be given to
the subject from the sensibility, that is, something that affects oneself from the
external and the internal sense, however, Husserl extends the analysis of
affection toward a broad spectrum of underlying phenomena, such as volitive
acts, imaginative acts, drives and affects. Husserl also analyzes from a
phenomenological point of view the Kantian implicit condition that, if anything
is given to the subject in the internal consciousness of time, the relationship to
itself must be thought as a temporal process (or as temporal structuring modes
of consciousness). I intend to show that Husserl’s analysis of affection and its
modulations unveil possible theoretical directions departing from Kant, but in
this step, involving a change of focus on the transcendental field, more
specifically on the transcendental foundation of temporality.
Keywords: Kant, Husserl, affection, temporality, passive synthesis.

This paper considers two different directions of thought concerning the image in the context of phenomenological and deconstructive approaches. To begin with, the theoretical course will be presented in which Edmund Husserl elaborates his phenomenology of image, in a so-called idealistic approach, centered on the notion of Fiktum. Subsequently, Jacques Derrida's thought about the image and related fields-painting, drawing, writing as inscription will be deal with indicating how the author emphasizes the theme of support or "un-dersides" (les dessous) in order to reflect on the multiple instances of meaning and the levels of invisibility that permeate the visible.

This text underlines the way in which, for Georges Didi-Huberman, topics including matter, symptom and memory become primordial to the thinking of images. But as Didi-Huberman proceeds, the course that leads him to highlight such topics first addresses other topics that, inphilosophy and iconography, sought to deny such readings, namely: image as form and its correlative meanings, that is, image as symbol and image as visibility. Didi-Huberman, however, argues that the notion of form may no longer be merely opposed to that of matter, nor be considered as solely idealistic. If, on the one hand, Didi-Huberman presents the insufficiency of the deconstruction of the notion of form presented by Jacques Derrida, on the other hand, the displacements of the notion of form proposed specially in Ce que nous voyons ce qui nous regardepoint to an approximation to deconstruction, mostly to the themes of trace, index and “the belows” (les dessous) of images. In addition, passages of this and other works of Didi-Huberman may insinuate a connection between the notions of trace and aura, which refer to convergences concerning the deconstruction of the visible and the dialectical image. This text seeks to reconstruct such directions from writings of Didi-Huberman and, in this way, restores other writings that border on them: specially from Jacques Derrida and Walter Benjamin.
Keywords
image; Didi-Huberman; Derrida; Benjamin; memory; aura

This article analyses some modalities of the relationship to what is 'other' from two perspectives. The first one is offered by the Brazilian anthropologist Eduardo Viveiros de Castro, who describes the variations of suffixes in Amerindian languages. This variation depends on the circumstances in which what is other appears and is meaningful. The second perspective comes from Jacques Derrida's readings of Edmund Husserl's phenomenology, mainly about passive synthesis, hetero-affection, and the constitution of otherness. I show how some of Viveiros de Castro's analyses of the encounter with the other, including non-human others, deconstruct noetic intentionality by stressing the circumstantial and partially contingent point of view from which the subject and what is other are seen. download article 132.230.195.86.

Ce texte se propose d’exposer certaines convergences entre la pensée de l’image chez Jacques Derrida, Gilles Deleuze et Georges Didi-Huberman, à partir d’une problématique qui, bien que traitée différemment par chacun de ces auteurs, met en évidence la manière dont les images, malgré leur caractère spécifique de visibilité, se structurent par l’interférence d’autres niveaux constitutifs hétérogènes. Assujettie à l’inscription du non-visible ainsi qu’à l’incidence des jeux d’intensité au coeur du sensible, l’apparition des images se laisse déconstruire en tant que surface disponible à la présentification et décodification de sens idéaux qui subsisteraient avant et à travers elles. Même si aucun de ces auteurs ne s’exempte de penser une structuration minimale des images, envisagée comme délimitation – bien que faible et mouvante – de ses possibilités d’inscription et de monstration, cette structuration n’agit en tant que telle que
si elle se laisse dans le même temps affecter par l’émergence de l’imprévu et de ce qui ne se laisse pas régler préalablement.