I’m attempting to update the age-old CSS and design and make it into something a bit more flexible and manageable via Carrington. Please bear with me while I tweak it.
I’m attempting to update the age-old CSS and design and make it into something a bit more flexible and manageable via Carrington. Please bear with me while I tweak it.
On the subject of Shakespeare, his strange impersonalness, and mythology, I think Borges still has it most right.
Everything and Nothing
There was no one in him; behind his face (which even through the bad paintings of those times resembles no other) and his words, which were copious, fantastic and stormy, there was only a bit of coldness, a dream dreamt by no one. At first he thought that all people were like him, but the astonishment of a friend to whom he had begun to speak of this emptiness showed him his error and made him feel always that an individual should not differ in outward appearance. Once he thought that in books he would find a cure for his ill and thus he learned the small Latin and less Greek a contemporary would speak of; later he considered that what he sought might well be found in an elemental rite of humanity, and let himself be initiated by Anne Hathaway one long June afternoon. At the age of twenty-odd years he went to London. Instinctively he had already become proficient in the habit of simulating that he was someone, so that others would not discover his condition as no one; in London he found the profession to which he was predestined, that of the actor, who on a stage plays at being another before a gathering of people who play at taking him for that other person. His histrionic tasks brought him a singular satisfaction, perhaps the first he had ever known; but once -the last verse had been acclaimed and the last dead man withdrawn from the stage, the hated flavour of unreality returned to him. He ceased to be Ferrex or Tamberlane and became no one again. Thus hounded, he took to imagining other heroes and other tragic fables. And so, while his flesh fulfilled its destiny as flesh in the taverns and brothels of London, the soul that inhabited him was Caesar, who disregards the augur’s admonition, and Juliet. who abhors the lark, and Macbeth, who converses on the plain with the witches who are also Fates. No one has ever been so many men as this man who like the Egyptian Proteus could exhaust all the guises of reality. At times he would leave a confession hidden away in some corner of his work, certain that it would not be deciphered; Richard affirms that in his person he plays the part of many and Iago claims with curious words ‘I am not what I am’. The fundamental identity of existing, dreaming and acting inspired famous passages of his.
For twenty years he persisted in that controlled hallucination, but one morning he was suddenly gripped by the tedium and the terror of being so many kings who die by the sword and so many suffering lovers who converge, diverge and melodiously expire. That very day he arranged to sell his theatre. Within.. a week he had returned to his native village, where he recovered the trees and rivers of his childhood and did not relate them to the others his muse had celebrated, illustrious with mythological allusions and Latin terms. He had to be ‘someone: he was a retired impresario who had made his fortune and concerned himself with loans, lawsuits and petty usury. It was in this character that he dictated the arid will and testament known to us, from which he deliberately excluded all traces of pathos or literature. His friends from London would visit his retreat and for them he would take up again his role as poet.
History adds that before or after dying he found himself in the presence of God and told Him: ‘I who have been so many men in vain want to be one and myself.’ The voice of the Lord answered from a whirlwind: ‘Neither am I anyone; I have dreamt the world as you dreamt your work, my Shakespeare, and among the forms in my dream are you, who like myself are many and no one.’
Last one, I promise. This is just a great passage that identifies a more general gnostic/transcendent tendency among Derrida and a certain stream of predecessors who all tend to attract fervent, single-minded followings:
As a participant in the philosophical discourse of modernity, Derrida inherits the weaknesses of a critique of metaphysics that does not shake loose of the intentions of first philosophy. Despite his transformed gestures, in the end he, too, promotes only a mystification of palpable social pathologies; he, too, disconnects essential (namely, deconstructive) thinking from scientific analysis; and he, too, lands at an empty, formulalike avowal of some indeterminate authority. It is, however, not the authority of a Being that has being that has been distorted by beings [i.e., Heidegger], but the authority of a no longer holy scripture, of a scripture that is in exile, wandering about, estranged from its own meaning, a scripture that testamentarily documents the absence of the holy.
Habermas, The Philosophical Discourse of Modernity VII
Habermas’ larger argument here is more abstruse and a bit more suspect (his strategy of accusing Derrida of recidivist foundationalism is probably accurate, but I’m not sure if his particular methods are accurate), and I won’t try to summarize it here. What I want to remark on is the part in bold, the appeal to empty, indeterminate authority. It’s not that “science” (that vague term that has so many pejorative associations in either direction) is its opposite; a better term would be public and discursive. The notion of the authority is that of a gnostic one to which access cannot be rationally assessed. So I agree with Habermas that it is fundamentally religious, and so the affinity between Derrida and Levinas is not surprising at all. (Habermas discusses that as well.) The line of thinkers appealing to this sort of authority goes back to the beginning of time. Here are some figures that I find indisputably in this corner: Parmenides, Pythagoras, Plotinus, al-Ghazali, Malebranche, Jacobi, Kierkegaard, Heidegger, Schmitt, Strauss, Levinas, and Derrida.
There is something of a conservative tilt to many of these figures; I attribute it to the general desire to want to bow down to something otherworldly. That old grouch Schopenhauer complained of Malebranche’s tactic of “explaining something unknown by something even more unknown.” As a certain well-known continental philosopher (one who was very fond of Derrida, Kristeva, Adorno, and Butler but disliked Heidegger and loathed Levinas) said, “Watch out for those Levinasians. They always want to bend at the knee.”
This passage comes from one of Derrida’s earlier works, a short treatise dismissing Husserl’s phenomenology as hopeless due to the nature of language. Ultimately I don’t think it has much to do with Husserl; Derrida is just looking for a place on which to hang his theory of différance, deferrals of meaning, and traces. This is not to say that language doesn’t pose a problem for Husserl, but Derrida’s argument is far more tenuous than it needs to be if you are actually interested in how Husserl’s phenomenology relates to language.
The ideal form of a written signifier, for example, is not in the world, and the distinction between the grapheme and the empirical body of the corresponding graphic sign separates an inside from an outside, phenomenological consciousness from the world. And this is true for every visual or spatial signifier. And yet every non-phonic signifier involves a spatial reference in its very “phenomenon,” in the phenomenological (nonworldly) sphere of experience in which it is given. The sense of being “outside,” “in the world,” is an essential component of its phenomenon. Apparently there is nothing like this in the phenomenon of speech. In phenomenological interiority, hearing oneself and seeing oneself are two radically different orders of self-relation. Even before a description of this difference is sketched out, we can understand why the hypothesis of the “monologue” could have sanctioned the distinction between indication and expression only by presupposing an essential tie between expression and phone. Between the phonic element (in the phenomenological sense and not that of a real sound) and expression, taken as the logical character of a signifier that is animatedin view of the ideal presence of a Bedeutung (itself related to an object), there must be a necessary bond. Husserl is unable to bracket what in glossamatics is called the “substance of expression” without menacing his whole enterprise. The appeal to this substance thus plays a major philosophical role.
Speech and Phenomena VI, “The Voice that Keeps Silence”
Derrida is talking about two aspects of language that Husserl identifies: expression (Ausdruck) and indication (Anzeichen). Expression denotes the aspect of meaning that we give to a linguistic sign. Indication denotes the way in which it empirically points to something else, as well as any contextual and conventional role it may have. When I speak to others, words serve as an indication of my meaning. Husserl believes that within the realm of thought and phenomenology, indication does not have a role to play, and so phenomenology only needs to deal with expression. For me, the meaning is prior to the words, and so I don’t need to worry about what my words indicate. This approach renders language “transparent,” and indeed, Husserl doesn’t talk much about language.
Derrida starts by discussing how, since the mind uses signs that have an indicative role, indication and expression cannot be separated. This is not a new point (Wittgenstein, amongst others, had spent much time here). But he then says, in passages such as the above, that in fact, expression is dependent on indication and in fact expression is nothing more than indication. (The arguments here are fairly arcane and I will not go into them because I’m prepared to grant this point for the sake of my greater argument.) We now have a problem, because indication is incomplete: a sign points to something else, rather than containing any sort of meaning in itself. In other words, all mental relations must also be ones of indication and not of any other type. And since indication can only point to something else rather than contain innate meaning, that meaning is endlessly deferred. Cue Derrida’s larger project and the attack on what Derrida terms “presence,” which seems to be whatever may lie underneath the endless map of signs pointing to one another. And of course Husserl’s project is invalid because the sort of phenomenological bracketing of meaning that Husserl wants is impossible.
But Derrida has cheated. He’s gone from an atomic relation of sign to sign and assumed that because a single signification is bereft of meaning, the entire system must be. This is a negative claim–that no meaning is possible–and he’s achieved it by narrowing the gap on both sides. First, he’s abandoned consideration of the holistic view in which a system of significations could have a meaning which is not contained in isolation in any single signification. (This is basically Quine’s argument in “Two Dogmas of Empiricism“: “The unit of empirical significance is the whole of science.”) Second, he’s insisted that a particular type of meaning, Husserl’s, is the only one possible, so any problem with Husserl’s admittedly naive theory extends to language in general.
So Derrida silently assumes logical atomism and a naive theory of reference, then posits that position as one side of a dichotomy and his endless deferral of meaning as the other, with no middle ground. That tons of philosophers had already discussed exactly that middle ground seems to be of little concern to him. He has used Husserl as a straw man, he has ignored stronger arguments against his position, and he has employed false dichotomies so as to prove himself correct by contradiction. Anything other than pure indication is suddenly “presence” and is automatically invalid. This is pretty lame, especially when it later becomes a trapdoor to transcendence in which you can only get past the endless deferral through “radical” means of some form or another.
There are other problems in his thinking here, but these particular flaws stand out because they seem so representative of Derrida’s entire project and its tactics. He is not the first and will not be the last to commit these fallacies, but as houses of sand go, his is particularly egregious.
(For a more thorough examination of these issues, see Kevin Mulligan’s “How Not to Read.”)
Postscript: I read Martin Hagglund’s chapter on Derrida and Husserl in Radical Atheism, which is indeed a reasonably-written book. He says: “The decisive question for Derrida, however, is whether the structure of re-presentation is a condition for consciousness as such.” Hagglund ignores, however, the question of whether, even if it is a condition, it has the implications for meaning that Derrida claims it does. All this stuff about fundamental presence and ideality remains a strawman.
Update: In addition to NN’s helpful comment below examining a section of “Signature Event Context,” I just found that Jon Cogburn made a similar point in passing last year in the context of a much larger discussion of Derrida, Levinas, and Critchley:
[Derrida’s arguments] seem to constitutively involve the fallacy of false dichotomy at every stage of his career, starting with the ur-false dichotomy between some kind of radical holism and an Augustinian philosophy of language/mind, a false dichotomy no reader of Wittgenstein would make.
That about sums it up. Cogburn also cites the Kevin Mulligan article above while discussing Derrida’s responses to the sort of critique I give here:
A number of years Man and World (now Continental Philosophy Review) published an article where the author criticized Derrida’s interpretation of Husserl (note that every serious Husserl scholar I know agrees that Derrida is a terrible reader of Husserl, e.g. http://www.unige.ch/lettres/philo/enseignants/km/doc/HowNotRead1.pdf ). They invited a response from Derrida, but he just wrote a short note saying he disapproved of the spirit in which the author wrote the critique of Derrida. And this is a maneuver Derrida did again and again. Attacking the motives and personality of people much less powerful than him who had the audacity to suggest that he might be mistaken. And this is what bothers me the most.
© 2025 Waggish
Theme by Anders Noren — Up ↑