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Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible.
Meanwhile, two Yeses may double an affirmation but not always.
As Derrida continues, “The difference between the two yeses, or rather between the two repetitions of the yes, remains unstable, subtle, sublime. Additionally, let’s not forget the all-important Perhaps, the mediating Maybe, and the sometimes Yes but other times No.
Then, there are the moments when the word Yes does not even signify a Yes.
This problem of mistaken meaning, confused context, and fractured communication brings me to James Joyce’s Ulysses, and specifically, Derrida’s reading of the novel.
Jacques Derrida was born in El-Biar, Algeria on July 15, 1930.
He graduated from the École Normal Supérieure in 1956.
As Graham Harman moans, “No figure in the history of philosophy is simultaneously so observant and so irritating as Jacques Derrida” (110).
Indeed, Derrida leaves no pebble or pun unturned in his close reading of Joyce’s pioneering text.
He taught philosophy and logic at both the University of Paris and the École Normal Supérieure for around 30 years.
His works of philosophy and linguistics form the basis of the school of criticism known as deconstruction.