01.31.08

Madness and Silence

Posted in Derrida, Writing and Difference, philosophy at 2:47 pm by Andrea Elizabeth

I read the notes to pgs 20-30 which clarified things a tiny bit, but I’ve decided to press on. I also read a wiki article on Kant and have a preliminarily conclusion/hypothesis that these nihilistic or atheistic philosophers were suffering from post traumatic stress related to a misconception of traditional Christiantity. I could prematurely point fingers as to why this is so, but instead I want to say that I like these guys because they are smart, witty, unafraid, and maybe even honest artists who are trying to free themselves from perhaps unhealthy and unintended yokes and boxes, and are surprisingly religious (sounds like a cereal commercial).

Chapter 2 in Writing and Difference is called Cogito and the History of Madness. I really like Derrida’s titles. Not that my affinities are justified or are as worthy of note as I make them.

The beginning of the lecture is a tribute to his teacher, Michel Foucault, and the position he is in as his “grateful” disciple of critiquing Foucault’s “powerful in its breadth and style” book, Madness and Civilization: A History of Insanity in the Age of Reason.

Now the disciple’s consciousness, when he starts, I would not say to dispute, but to engage in dialogue with the master or, better, to articulate the interminable and silent dialogue which made him into a disciple – this disciple’s consciousness is an unhappy consciousness. Starting to enter into dialogue in the world, that is, starting to answer back, he always feels “caught in the act,” like the “infant” who, by definition and as his name indicates cannot speak and above all must not answer back. And when, as is the case here, the dialogue is in danger of being taken – incorrectly – as a challenge, the disciple knows that he alone finds himself already challenged by the master’s voice within him that precedes his own. He feels himself indefinitely challenged, or rejected or accused; as a disciple, he is challenged by the master who speaks within him, and before him, to reproach him for making this challenge and to reject it in advance, having elaborated it before him; and having interiorized the master, he is also challenged by the disciple that he himself is. This interminable unhappiness of the disciple perhaps stems from the fact that he does not know – or is still concealing from himself – that the master, like real life, may always be absent. The disciple must break the glass, or better the mirror, the reflection, his infinite speculation on the master. And start to speak. (p.31&32)

When Jaques denies presence, I think he is denying that I perceive the other in totality or correctly. I appreciate this humility.

Foucault runs the theme linking madness to silence, “to words without language” or “without the voice of a subject,” “obstinate murmur of a language that speaks by itself, without speaker or interlocutor, piled up upon itself, strangulated, collapsing before reaching the stage of formulation, quietly returning to the silence from which it never departed. The calcinated root of meaning.” (p.35)

I think I am beginning to understand Derrida’s method of destroying with the intention to liberate, from within. This is how he keeps from being dialectically opposed to. By magnifying the marginal he unseats the previously aggrandized, but presumably not to the extent of marginalizing the top-dwellers. Here he’s critiquing Foucault’s attempt to explain madness/silence from within and without, lauding trying not to attempt to explain it in terms of reason which isolates itself from madness, but being critical of the fact that speaking of silence is inconsistent and violates the barrier. We worry about Derrida promoting madness or neutralizing our aversion to it by not being opposed to it, but I think he’s talking more against writing off, condemning and imprisoning the immates, not that that’s done so much any more.

Despite the impossibility of speaking about silence, he thinks in Foucault’s book that a certain liberation of madness has gotten underway, that psychiatry has opened itself up, however minimally, and that the concept of madness as unreason, if it ever had a unity, has been dislocated. And that a project such as Foucaut’s can find its historical origin and passageway in the opening produced by this dislocation.(p.38)

I think that he’s right that madness is not unreason, especially as Orthodox understand that logic alone does not necessarily bring about truth. Psychiatry seems to worry about it more in terms of perceived “danger to self or others”. Madness to me is believing a lie, which is also sin, though probably unconscious. So to the extent that we sin, we are all mad. Sin is also defined as lack of self-control, but I think warped truth also plays a big part in that. Perhaps anger is from being silent too long, or from not being allowed, or feeling safe, to speak to someone else. I’m hearing Jack Nicholson say, “You can’t handle the truth!” and so we keep quiet. Perhaps there are two kinds of mad people, those who need to find a safe place to learn to speak, and those who want to stay in their delusion and will punish and manipulate anyone who tries to show them the truth. The latter in their logic and superior reasoning are usually not quiet, though. They win arguments and intimidate people into silence.

01.30.08

Inconclusiveness

Posted in Derrida, Writing and Difference at 3:36 pm by Andrea Elizabeth

I just finished the last 10 pages (to p.30) of Force and Signification and this is my response,

I stand before you to sit behind you to tell you something I know nothing about.
Late one morning in the middle of the night, two dead boys got up to fight.
Back to back they faced each other, drew their swords and shot each other.
If you don’t believe this tale is true, ask the blind man, he saw it too. (source unknown)

I’ve read a chapter or two of Proust, and agree with Derrida’s assessment of monotony. I’ve read Madame Bovery, but was not thinking of if Flaubert was thoroughly represented there, or if his telos simultaneously was. ‘Is the acorn simultaneous with the oak tree’ is an interesting question. If it’s not, then I do like the hidden element of surprise in the acorn. And I don’t believe in determinism – that the fate of the tree is evident in the acorn. How the tree ends up depends…

This part didn’t hurt my brain quite as much,

We would have to choose between writing and dance.

Neitzsche recommends a dance of the pen in vain: “…dancing with the feet, with ideas, with words, and need I add that one must also be able to dance with the pen – that one must learn how to write?” Flaubert was aware, and he was right, that writing cannot be thoroughly Dionysiac. “One can only think and write sitting down,” he said. Joyous anger of Nietzsche: “Here I have got you, you nihilist! A sedentary life is the real sin against the Holy Spirit. Only those thoughts that come when you are walking have any value.

But Nietzsche was certain that the writer would never be upright; that writing is first and always something over which one bends. Better still when letters are no longer figures of fire in the heavens.

Nietzshe was certain, but Zarathustra was positive: “here do I sit and wait, old broken tables around me and also new half tables. When cometh mine hour? – The hour of my descent, of my down-going.”… It will be necessary to descend, to work, to bend in order to engrave and carry the new Tables to the valleys, in order to read them and have them read. Writing is the outlet as the descent of meaning outside itself within itself: metaphor-for-others-aimed-at-others-here-and-now, metaphor as the possibility of others here-and-now, metaphor as metaphysics in which Being must hide itself if the other is to appear. Excavation within the other toward the other in which the same can always lose (itself). 

I’m with Flaubert and Nietzshe in that descent is necessary, but hopefully it will eventually be accompanied by dancing, metanoia.

Well that’s more than I intended on writing without reading the notes or rereading these 10 pages. I don’t know what I’ll do next.  Ben, my space nerd, isn’t happy to learn who Zarathustra is. But I say, leave it, all that goes down can come up. Besides, it’s a nice bit of music.

Form, Content and Force

Posted in Derrida, Writing and Difference at 1:34 am by Andrea Elizabeth

Derrida is concerned with an “ultrastructuralism”(W&D p. 15) which focuses too much on form determining meaning and content. Rousset said to get to meaning you have to look at structure metaphorically.

Hence, for as long as the metaphorical sense of the notion of structure is acknowledged as such, that is to say interrogated and even destroyed as concerns its figurative quality so that the nonspatiality or original spatiality designated by it may be revived, one runs the risk, through a kind of sliding as unnoticed as it is efficacious, of confusing meaning with its geometric, morphological, or, in the best of cases cinematic model. One risks being interested in the figure itself to the detriment of the play going on within it metaphorically. (p. 16)

Well we can all afford to look deeper into things and consider and appreciate ambiance, but “destroyed” seems a bit harsh and dialectical.

The geometric or morphological elements of Forme et Signification are corrected only by a kind of mechanism, never by energetics. Mutatis mutandis, one might be tempted to make the same reproach to Rousset, and through him to the best literary formalism, as Leibniz made to Descartes; that of having explained everything in nature with figures and movements, and ignoring force by confusing it with the quantity of movement. Now in the sphere of language and writing, which, more than the body, “corresponds to the soul,” “the ideas of size, figure and motion are not so distinctive as imagined, and… stand for something imaginary relative to our perceptions.”

So the first sentence is a criticism, and that Rousset needs the same corrective as Descartes, Leibniz’s monad?

Leibniz’s best known contribution to metaphysics is his theory of monads, as exposited in Monadologie. Monads are to the metaphysical realm what atoms are to the physical/phenomenal. Monads are the ultimate elements of the universe. The monads are “substantial forms of being” with the following properties: they are eternal, indecomposable, individual, subject to their own laws, un-interacting, and each reflecting the entire universe in a pre-established harmony (a historically important example of panpsychism). Monads are centers of force; substance is force, while space, matter, and motion are merely phenomenal. (Wikipedia)

The geometry is only metaphorical, it will be said. Certainly. But metaphor is never innocent. It orients research and fixes results. When the spatial model is hit upon, when it functions, critical reflection rests within it. In fact and even if criticism does not admit this to be so. (p. 17)

He then goes on to describe the essay, Polyeucte that posits that “good” plays have a geometrical structure, described in the essay, The Ring and the Helix. I think it says that the geometrical observation comes about secondary to our knowing and appreciating a good play.

Polyeucte compares two plays, La galerie du palais and Le Cid where the latter achieves not only a figure 8, but an ascension, like a helix. The difference…, one could be lead to believe, is no longer in the design and movement of presences (distance-proximity), but in the quality and inner intensity of the experiences (tests of fidelity, manner of being for the other, force of rupture, etc.)… What is gained in the tension of sentiments is gained in terms of elevation; for values, as we know, mount scalewise, and the Good is most high.

…We would be convinced if beauty, which is value and force, were subject to regulation and schematization. Must it be shown once more that this is without sense? Thus if Le Cid is beautiful, it is so by virtue of that within it which surpasses schemes and understanding. (p.18) Derrida says such schematizing is not Leibnizian enough (see monads), but is at the same time Leibnizian in wanting to find a line, no matter how complex, that accounts for the unity, the totality of its movement, and all the points it must traverse.

I think Derrida is criticizing the attempt to mathematize and formulize art, and perhaps behavior. I’m reminded of A Beautiful Mind and game theory.

Our intention here is not, through the simple motions of balancing, equilibration or overturning, to oppose duration to space, quality to quantity, force to form, the depth of meaning or value to the surface of figures. Quite to the contrary. To counter this simple alternative, to counter the simple choice of one of the terms or one of the series against the other, we maintain that it is necessary to seek new concepts and new models, an economy escaping this system of metaphysical oppositions. This economy would not be an energetics of pure, shapeless force. The differences examined simultaneously would be differences of site and differences of force. If we appear to oppose one series to the other, it is because from within the classical system we wish to make apparent the noncritical privilege naively granted to the other series by a certain structuralism. Our break with this structure of belonging can be announced only through a certain organization, a certain strategic arrangement which, within the field of metaphysical opposition, uses the strengths of the field to turn its own stratagems against it, producing a force of dislocation that spreads itself throughout the entire system, fissuring it in every direction and thoroughly delimiting it. (p.20)

He has said before that he is not anti-classical critique, he just wants to strip off the Neo-Platonism. Here he’s saying he’s not against structure, or recognizing the elements, or that he even wants to set the elements of art against each other. I guess he thinks structuralists are naively unaware of the force in a work, and he wants to release it by setting their inadequate methods against each other. But again he uses surprisingly violent words.

I’ve had a few thoughts about focusing on form in Orthopraxis, and over-formulizing how Orthodoxy “works” while trying to figure this passage out. But if Orthodoxy is the most beautiful example of human potentiality/divinization, then this is achieved by a force being released, in my observation. I think of St. Seraphim and Motovilov, and Elder Porphyrios observing the hermit in prayer. The all-encompassing warmth, grace, purity, and intensity physically seen and felt was a byproduct of union with God.

Derrida says the structuralists are saying form – the physical or rhetorical work – is united with meaning – God – through aspiration – ascension, the spiraling movement. Corneille says this movement is difference itself. Why is there more beauty in Polyeucte than in “an ascending movement of two rings”? The force of a work, the force of genius, the force, too, of that which engenders in general is precisely that which resists geometrical metaphorization and is the proper object of literary criticism.

So if Neo-Platonism removes difference through assimilation into God, then the ascension, not the union, is difference, and it speaks of not arriving yet. But difference is annihilated once one does arrive. The ascension is dialectically opposed to arrival. This reminds me of Origen’s constant descending and ascending in and out of God theology. Perhaps Derrida is saying that the force of beauty is achieved here and now in the individual work of art that differs from other works so that distinction/difference is preserved, and not a temporary means to an end.

In Non-Platonic Orthodox terms, meaning is the unattainable essence of God, and creation becomes united with Him through His energies and retains it’s difference and individual-ness. Thus icons of Saints have different faces.

01.28.08

Knowing the Truth

Posted in Derrida, Writing and Difference at 1:43 pm by Andrea Elizabeth

(edited to change from Tradition is a memorial to it is living and participating; and I edited the title because it portrayed deminishment and separation between the essence and energies. On further reflection I would also change some things about differing with Derrida on presence, but I’ll save it for another post.)

Writing and Difference p. 14:

By keeping to the legitimate intention of protecting the internal truth and meaning of the work from historicism, biographism or psychologism (which moreover always lurk near the expression, “mental universe”), one risks losing any attentiveness to the internal historicity of the work itself, in its relationship to a subjective origin that is not simply psychological or mental. If one takes care to confine classical literary history to its role as an “indispensable” “auxiliary,” as “prologomenon and restraint” (Rousset Forme et Signification xii,n16) one risks overlooking another history, more difficult to conceive: the history of the meaning of the work itself, of its operation. This history of the work is not only its past, the eve or the sleep in which it precedes itself in an author’s intentions, but is also the impossibility of its ever being present, or its ever being summarized by some absolute simultaneity or instantaneousness. This is why, as we will verify, there is no space of the work, if by space we mean presence and synopsis. And, further on, we will see what the consequences of this can be for the tasks of criticism.

From the notes (#3, p. 301), “Since Derrida challenges the notion that a text can present a truth, his prefaces – in which this challenge is anticipated – must especially mark that which makes a text explode the classical ideas of truth and presence. And they must do so without letting the preface anticipate this “conclusion” as a single, clear, luminous truth. Thus the complication of these prefaces.”

I think he combating a Platonic view that a work in becoming united with God can be God, or absolute Truth. Thus questioning the possibility of being absorbed in the essence of God, thus that the work can become God with us, His Presence. Perhaps he intuits the distinction between essence and energy, because I do not think he denies the energetic nature of a work, as this chapter’s title, Force and Signification, is a play on Rousset’s Form and Signification. To me there are two categories of artistic work, that which is the Tradition of the Church, and all others. Orthodox Christians have a Creed that we believe is true, but what we read and recite from the Tradition is not God in essence. The closest we have to God being present with us in creation is the Eucharist. And I believe this is set apart as Jesus’ humanity is distinguished as a singularly Divinized Humanity. The Eucharist is the way we receive God since His essence is ineffable. The rest, the Bible, icons, the words of the Liturgy, hymns etc. are living and participating in the Incarnation of God in flesh, all with the operation, properly received in the Grace-filled Church, of Incarnating in kind. But creation reveals God and gives introduction to Him, by His energies which are not opposed to or diminished forms of His essence.

The rest of art, the expression of common humanity still manifests the energy of God in His sustaining power at least. There is still something wondrous about all of God’s creation, even that which is fallen.

Unless Rousset considers every line, every spatial form (but every form is spatial) beautiful a priori, unless he deems, as did a certain medieval theology (Considerans in particular), that form is transcendentally beautiful, since it is and makes things be [?], and that Being is Beautiful: these were truths for this theology to the extent that monsters themselves, as it was said, were beautiful, in that they exist through line or form, which bear witness to the order of the created universe and reflect divine light. Formosus means beautiful. W&D p.20

There are problems with the above, namely that I think there is a danger in worshipping the order of the universe and assuming created light is the same as uncreated Light, but nevertheless all creation is created by God and thus retains beauty. Warping can be undone.

01.26.08

Finger Pointing

Posted in Buddhism, Derrida, Writing and Difference at 3:41 pm by Andrea Elizabeth

When I protest, I am seeking revenge on the one who hurt me. I want them to get in trouble. But didn’t they learn to hurt me from being hurt? This is why they truly know not what they do. Adam blamed Eve, Eve blamed the serpent, the serpent blamed God. God announced consequences to all three, but then He sent His Son to suffer the ultimate consequences to ultimately stop their suffering. We must stop protesting against grace.

_______

I just wrote the above. While I was writing I was thinking about other signified(s) – the hurt, the hurters, God. I was pointing to them, utilizing my signs to make a point about the signified. Derrida says on p. 12

“This revelatory power of true literary language as poetry is indeed the access to free speech, speech unburdeneed of its signalizing functions by the word “Being”…It is when that which is written is deceased as a sign-signal that it is born as language… since it ceased to be utilized as natural, biological, or technical information, or as the transition from one existent to another from a signifier to the signified. And, paradoxically, inscription alone-although it is far from always doing so-has power of poetry, in other words has the power to arouse speech from its slumber as sign. By enregistering speech, inscription has as its essential objective, and indeed takes this fatal risk, the emancipation of meaning-as concerns any actual field of perception-from the natural predicament in which everything refers to the disposition of a contingent situation.”

I don’t know where to stop quoting, but I think he’s saying that writing does not always achieve the status of poetry, but that is its goal. Elder Porphyrios says we must all become poets. Poetry gives meaning to creation. May it even be true that poetry deifies creation by becoming itself deified, when it is unburdened by, facilitated by Being, and could this Being be the Other – God? I’m not sure how he would work in his anti-logocentrism here. But still poetry reveals the poet’s relationship with creation, made possible by God. The poet and the subject achieve something new in the poem through the power of beauty, love, and meaning – energies of God. The words introduce this relationship. I also like that he said the words have to die, become deceased. This is how deification occurs, through death, then resurrection. The resurrection comes to the attender, the words are a seed that must die to spring to new life in the hearer. (I want to someday come back to why he focuses so much on writing instead of other works of art like painting, music, or dance).

I think Derrida is combating the idea of gnosticism instead of promoting it.

That it can always fail is the mark of its pure finitude and its pure historicity. If the play of meaning can overflow signification (signalization) which is always enveloped within the regional limits of nature, life and the soul, this overflow is the moment of the attempt-to-write. The attempt-to-write cannot be understood on the basis of voluntarism. The will to write is not an ulterior determination of a primal will. On the contrary, the will to write reawakens the willful sense of the will: freedom, break with the domain of empirical history a break whose aim is reconciliation with the hidden essence of the empirical, with pure historicity. The will and the attempt to write are not the desire to write, for it is a question here not of affectivity [I'm calling affectivity gnostic, platonic, idyllic, romanticism] but of freedom and duty [grounding reality]. In its relationship to Being, [relationship/dialogue, not absorption] the attempt to write poses itself as the only way out of affectivity. A way out that can only be aimed at, and without the certainty that deliverance is possible or that it is outside affectivity. To be affected is to be finite: to write could still be to deceive finitude, and to reach Being [gnosticism] – a kind of Being which could neither be, nor affect me by itself – from without existence [reminds me of Buddhism, which I think he's speaking against]. To write would be [wrongly] to attempt to forget difference: to forget writing in the presence of so-called living and free speech.

In the extent to which the literary act proceeds from this attempt-to-write, it is indeed the acknowledgment of pure language, the responsibility confronting the vocation of “pure” speech which, once understood, constitutes the writer as such. Heidegger says of pure speech that it cannot “be conceived in the rigor of its essence” on the basis of its “character-as-sign” (Zechencharakter), “nor even perhaps of its character-as-signification” (Bedeutungscharakter).

Does not one thus run the risk of identifying the work with original writing in general? Of dissolving the notion of art and the value of “beauty” by which literature is currently distinguished from the letter in general? But perhaps by removing the specificity of beauty from aesthetic values, beauty is, on the contrary, liberated? Is there a specificity of beauty, and would beauty gain from this effort?

Perhaps Derrida is saying no, but he goes on to say, “Rousset [a structuralist] believes so. And the structuralism proper to Jean Rousset is defined, at least theoretically, against the temptation to overlook this specificity. [Structuralists are] scrupulous about the formal autonomy of the work – an independent, absolute organism that is self-sufficient”… Rousset…circumvents the “objectivist” danger … by giving a definition of structure that is not purely objective or formal, “I will call ’structures’ these formal constants, these liaisons that betray a mental universe reinvented by each artist according to his needs”. Structure is then the unity of a form and a meaning… as if it had no origin (or history). It is here that structuralism seems quite vulnerable, and it is here that by virtue of one whole aspect of his attempt… Rousset too runs the risk of conventional Platonism.

_______

So for my writing above to achieve significance, it’s internal history needs to be acknowledged, and this is done by grace. If I’m protesting against protesting, then I am seeking retribution against protesters. oops. So I have to quit protesting and receive grace/ God’s perspective on the protesters including myself. Then I quit pointing to them, and point to myself. God have mercy on me, a sinner. Christ did this when He defeated all sin in His body.

01.25.08

A Surprising Link

Posted in St. Gregory Nazianzus at 12:44 pm by Andrea Elizabeth

Who would have thought Elizabeth Barrett Browning read the poems of the Greek Fathers?

EDITOR’S NOTE:The series of papers on the Greek Christian Poets (from which the following translations are excerpted) appeared first in the -Athenaeum- between the months of February and August, 1842. They were reprinted along with a second series of papers on the English poets — contributed to the same periodical — in a small separate volume, two years after Mrs. Browning’s death. (The Greek Christian Poets and the English Poets, by Elizabeth Barrett Browning, London. Chapman and Hall, 1863.)

As a mere girl, Miss Barrett had read the Greek Fathers in the original, under the guidance of the blind scholar, Hugh Stewart Boyd, who was deeply versed in them and could repeat from memory pages of their works both in prose and verse. A playful allusion to his especial enthusiasm for Saint Gregory Nazianzen occurs in Mrs. Browning’s poem ‘Wine of Cyprus’, which was dedicated to Mr. Boyd:

“Do you mind that deed of Ate
Which you bound me to so fast,
Reading “-De Virginitate-”,
From the first line to the last?
How I said, at the ending solemn,
As I turned and looked at you,
That Saint Simeon on that column,
Had had somewhat less to do?”

From Elizabeth Barrett Browning: Translations from the Greek Christian Poets

St. Gregory Nazianzen:

Where are my winged words? Dissolved in air.
Where is my flower of youth? All withered. Where
My glory? Vanished. Where the strength I knew
From comely limbs? Disease hath changed it too,
And bent them. Where the riches and the lands?
GOD HATH THEM! Yea, and sinners’ snatching hands
Have grudged the rest. Where is my father, mother,
And where my blessed sister, my sweet brother?
Gone to the grave! — There did remain for me
Alone my fatherland, till destiny,
Malignly stirring a black tempest, drove
My foot from that last rest. And now I rove
Estranged and desolate a foreign shore,
And drag my mournful life and age all hoar
Throneless and cityless, and childless save
This father-care for children, which I have,
Living from day to day on wandering feet.
Where shall I cast this body? What will greet
My sorrows with an end? What gentle ground
And hospitable grave will wrap me round?
Who last my dying eyelids stoop to close–
Some saint, the Saviour’s friend? or one of those
Who do not know Him? The air interpose,
And scatter these words too.

01.24.08

Reconciliation with the Other by removing opposition

Posted in Derrida, Essence and Energies, creativity at 2:09 pm by Andrea Elizabeth

cont. from pgs.11 and 12,

Thus the notion of an Idea or “interior design” as simply anterior to a work which would supposedly be the expression of it, is a prejudice: a prejudice of the traditional criticism called idealist. It is not by chance that this theory-or, one could now say, this theology – flowered during the Renaissance. Rousset, like so many others past or present, certainly speaks out against this “Platonism” or “Neo-Platonism.” But he does not forget that if creation by means of “the form rich in ideas” (Valery) is not the purely transparent expression of this form, it is nevertheless simultaneously revelation. If creation were not revelation, what would happen to the finitude of the writer and to the solitude of his hand abandoned by God? Divine creativity, in this case, would be reappropriated by hypocritical humanism. If writing is inaugural, it is not so because it creates, but because of a certain absolute freedom of speech, because of the freedom to bring forth the already there as a sign of the freedom to augur. A freedom of response which acknowledges as its only horizon the world as history and the speech which can only say: Being has always already begun. To create is to reveal, says Rousset, who does not turn his back on classical criticism. He comprehends rather, and enters into dialogue with it: “Prerequisite secret and unmasking of the secret by the work: a reconciliation of ancient and modern aesthetics can be observed, in a certain way, in the possible correspondence of the preexisting secret to the Idea of the Renaissance thinkers stripped of all Neo-Platonism.”

I’ve been trying to understand Neo-Platonism since the Orthodox are sometimes accused of it, but the OC actually accuses the west of it. I find it interesting that Derrida (so far) doesn’t want to reconcile or demarginalize Neo-Platonism. In fact it’s consistent with his stance against western dialectical, hyper-dogmatic thinking. Plato introduced definition by opposition, and that creation/matter is a shadow of a higher form, if I’m understanding correctly. I think P and Neo-P are also about Absolute Divine Simplicity, where things return to and are absorbed by Divinity, thus loosing their distinctiveness. It is this idea about God that Derrida is rejecting, but he does not reject Renaissance “creativity”, just it’s definition of what that is. The Renaissance west said that their representations where transparent and full explanations of the Other. Derrida says this was a prejudicial, and erroneous view. It leads to humanism where a person, through the destruction of his difference, becomes absorbed in the full essence of the creating God. Yet manipulated matter is revelation of the Other, but it is not the Other. In the Platonic view, this would mean that revelation through matter or energy suffers diminishment and distance from the Other, which must eventually be overcome through annihilation. I think Derrida is saying that manipulation of matter and energy, creativity, serve as introduction, inauguration to the Other.

The Orthodox stress that when/if we become one with Christ, we become one with His divinized humanity, which suffers no diminishment, but remains distinct from the Other, God’s Essence, which Christ, not us though we can introduce others to Him, in His unique dual-natured, but unconfused hypostasis, shares.

01.23.08

Words, words, words

Posted in Derrida at 11:32 am by Andrea Elizabeth

“My own words take me by surprise and teach me what I think.”

I have found this to be true, yet we have choices in what we write. I originally thought about writing about trauma, but then I thought I would be doing self-psychoanalysis and that would be dwelling in a state of dysfunction, deconstructing pain and our reaction to it. I’m sure that has its time and place, and I’ve certainly done it before – considered pain. I don’t think the remembrance of painful things should be stifled, and I consider it very therapeutic to verbally, which includes literally, remember what happened at least once, remember that is, and maybe let someone else read it so that you’re not alone with it any more. But I’m wanting to move away from conflict right now at least, so I picked up Writing and Difference and came across the above quote by Merleau-Ponty (p.11). Jacques goes on to say,

It is because writing is inaugural, in the fresh sense of the word, that it is dangerous and anguishing. It does not know where it is going, no knowledge can keep it from the essential precipitation toward the meaning that it constitutes and that is, primarily, its future. [I am a let it happen type writer so I relate to this, but some people have a set plan like Rowling did so I don't know how this would be applied to them, unless writing can be equated with planning, and I do believe she was surprised when Harry fell from the sky.] However, it is capricious only through cowardice. There is thus no insurance against the risk of writing. Writing is an initial and graceless recourse for the writer, even if he is not an atheist, but, rather, a writer. Did Saint John Chrysostom speak of the writer? “It were indeed meet for us not at all to require the aid of the written Word, but to exhibit a life so pure, that the grace of the spirit should be instead of books to our souls, and that as these are inscribed with ink, even so should our hearts be with the Spirit. But, since we have utterly put away from us this grace, come let us at any rate embrace the second best course.” But, all faith or theological assurance aside, is not the experience of secondarity tied to the strange redoubling by means of which constituted-written-meaning presents itself as prerequisitely and simultaneously read: and does not meaning present itself as such at the point at which the other is found, the other who maintains both the vigil and the back-and-forth motion, the work, that comes between writing and reading, making this work irreducible? Meaning is neither before or after the act. Is not that which is called God, that which imprints every human course and recourse with its secondarity, the passageway of deferred reciprocity between reading and writing? or the absolute witness to the dialogue in which what one sets out to write has already been read, and what one sets out to say is already a response, the third party as the transparency of meaning? Simultaneously part of creation and the Father of Logos. The circularity and traditionality of Logos. The strange labor of conversion and adventure in which grace can only be that which is missing.

No wonder the Evangelicals and Fundamentalist Protestants (which I was one in various denominations and non-denominations but an official member of none) don’t respect the Emergent Church. The former’s Sola Scriptura, anti-tradition beliefs equate the written word with grace as a primary source. However, the Emergent Church (Jacques is mentioned in that Wikipedia link) questions the fact that different people can come up with different meanings in the same Scripture passages.

Self-proclaimed emergent author Marcus Borg, for example, notes that individuals who have read the same Bible “literally” may have radically different accounts of the message of Christianity, which are often mutually exclusive. For example, one Christian may look to the Bible literally and see a strong case for the immorality of slavery or segregation, while another may look to the Bible literally and find strong literal support for the belief that slavery and segregation should be morally allowed to exist[citation needed]. Borg notes that many aspects of people’s lives, including their political beliefs and their surrounding culture can provide a “lens” that can distort the Bible and influence which parts of the Bible they take literally, and which parts they may ignore. Critics claim that the postmodern lens through which emergents view Christianity has influenced their radical relativism. Emergent Christians tend to acknowledge that there are diverse valid perspectives within “Christianity” that are valuable for consideration in order for humanity to progress toward truth as they define it and a better resulting relationship with God as they define him. They believe this non-dogmatism coupled with their liberal social agenda will facilitate harmony with the rest of ‘His creation’ (other people and the rest of the universe).

Words are evidence of a lack of grace in humans. If we had grace we would have no need to speak or hear, words indicate lack, either the speakers or the necessity of word to the hearers. But aren’t words a means to meaning and grace? Father Braga said in the passage I quoted a few posts back that in prison he had no books, no paper, and no one to talk to and that’s when he found grace. But then he writes a book about it and we read it and learn how to find grace, not everyone does in prison. He also said that suffering brings maturity, and I would say ultimate consolation like Lazarus found in the Bosom of Abraham while the rich, comfortable (on earth) guy ultimately didn’t. Writing and remembering suffering is important, which is how we have the lives of the Saints and why I watch Cold Case Files sometimes. We need to know how people suffered, and this comforts them, it brings them grace. Words and Suffering are evidence that we don’t have grace, but this is a fact, so merely being quiet does not change it. By letting ourselves suffer and write, as opposed to numbing ourselves with medications, means of comfort, and living in denial, we confess that we are graceless and then maybe we will obtain some. But words as evidence of lack of grace explains why much of the O.T. and the Gospels were written so much later than the events occurred, and indeed why Paul had to write his letters to dam the grace leak in the newly established churches. The grace, or the memory of it, which infused the experiences when they occurred was wearing off. This is why we have the Councils, heretics were perverting the truth and traditional words had to be written down. We have faulty memories, so meaning needs to be rehearsed or it wears off. And it’s why Sola Scriptura is a crippling doctrine. It lacks the inherited, rehearsed, mature, effective, unifying, non-relativistic interpretation of the Bible. The Emergent Church recognizes the problem with over-assuming meaning in the Bible alone, and they even intuit effective means, as some employ traditional things like candles, icons and Liturgy. This is why I think they, like Father Guilquist and his colleagues did, not that they were formally emergent, may eventually find the Orthodox Church.

This is not to say that primary means, prayer, is incapable of bringing grace, in fact don’t all words point to the need for prayer? We can know all mysteries and all knowledge through proper prayer, and unless one has a pure heart, we need to be taught by word and example how to pray properly.

So when I’m silent, is it because I am pure, or because I’m hiding that I’m not, or because I’m shielding you from how impure I am. But does that work? Being silent about impurity doesn’t erase it or cause it to not damage the Body of Christ. Hidden sin has us captive, and in a solidarity with humanity sort of way, holds all of us captive so that we can’t fully experience grace. My expressed words reveal my graceless heart, even to myself. But I’ll not despair.

p.s. I’m not promoting tell-all, let it all hang out, self-expression. May we seek authentic grace, graciousness, and gracefulness, with all our hearts “or we shan’t live happy lives” (Emma Thompson/Margaret Schlegel/E.M.Forster in Howard’s End).

01.22.08

The end of Lilla’s treatise on the politics of Jacques

Posted in Derrida at 7:30 am by Andrea Elizabeth

Chapter 3, no Nazi or totalitarian sympathizing there. More about not pitting people against each other through a false sense of allegiance to someone else, which ultimately western philosophy does. I guess Lilla just doesn’t like inconclusiveness. I am sometimes plagued by being able to see both sides of things and not discounting either side. At the same time I think I’m loyal to the truth, and have faith that the Orthodox Church has it, so I’m glad I can bring my inconclusiveness to the Church and let her deal with it. I accept God’s answers that He provides there. The Orthodox Church has a singular non-judgmental conservatism, if you get the paradox.

I really like Derrida’s points here, and continue to think Lilla prefers premature dogmatism.

In Chapter 4 on justice and law,

The problem with law, in his view, is that it is founded and promulgated on the basis of authority, and therefore, he asserts (with typical exaggeration), depends on violence. Law is affected by economic and political forces, is changed by calculation and compromise, and therefore differs from place to place. Law is written into texts and must be interpreted, which complicates things further.

Of course, none of this is news. Our whole tradition of thinking about law, beginning in Greek philosophy and passing through Roman law, canon law, and modern constitutionalism, is based on the recognition that laws are a conventional device. The only controversial issue is whether there is a higher law, or right, by which the conventional laws of nations can be judged, and, if so, whether it is grounded in nature, reason, or revelation. This distinction between law and right is the foundation of continental jurisprudence, which discriminates carefully between loi/droit, Gesetz/Recht, legge/diritto, and so forth. Derrida conflates loi and droit for the simple reason that he recognizes neither nature nor reason as standards for anything. In his view, both are caught up in the structures of language, and therefore may be deconstructed.

Now, however, he also wishes to claim that there is a concept called justice, and that it stands “outside and beyond the law.” But since this justice cannot be understood through nature or reason, that only leaves one possible means of access to its meaning: revelation. Derrida studiously avoids this term but it is what he is talking about. In Force de loi he speaks of an “idea of justice” as “an experience of the impossible,” something that exists beyond all experience and therefore cannot be articulated. And what cannot be articulated cannot be deconstructed; it can only be experienced in a mystical way. This is how he puts it:

If there is deconstruction of all determining presumption of a present justice, it operates from an infinite “idea of justice,” infinitely irreducible. It is irreducible because due to the other–due to the other before any contract, because this idea has arrived, the arrival of the other as a singularity always other. Invincible to all skepticism . . . this “idea of justice” appears indestructible…. One can recognize, and even accuse it of madness. And perhaps another sort of mysticism. Deconstruction is mad about this justice, mad with the desire for justice.

Or again in Specters of Marx:

What remains irreducible to any deconstruction, what remains as undeconstructible as the possibility itself of deconstruction, is, perhaps, a certain experience of the emancipatory promise; it is perhaps even the formality of a structural messianism, a messianism without religion, even a messianic without messianism, an idea of justice–which we distinguish from law or right and even from human rights–and an idea of democracy –which we distinguish from its current concept and from its determined predicates today.

There is no justice present anywhere in the world. There is, however, as Derrida puts it, an “infinite idea of justice,” though it cannot and does not penetrate our world. Yet this necessary absence of justice does not relieve us of the obligation to await its arrival, for the Messiah may come at any moment, through any city gate. We must therefore learn to wait, to defer gratifying our desire for justice. And what better training in deferral than deconstruction? If deconstruction questions the claim of any law or institution to embody absolute justice, it does so in the very name of justice–a justice it refuses to name or define, an “infinite justice that can take on a ‘mystical’ aspect.” Which leads us, without surprise, to the conclusion that “deconstruction is justice.”

Socrates equated justice with philosophy, on the grounds that only philosophy could see things as they truly are, and therefore judge truly. Jacques Derrida, mustering all the chutzpah at his disposal, equates justice with deconstruction, on the grounds that only the undoing of rational discourse about justice will prepare the advent of justice as Messiah.

Maybe Derrida’s showing his Jewishness here, still waiting for the Messiah. Well perhaps he couldn’t find Him in the western Church and the laws of its land. Still, with the judge and jury system, instead of a computer generated outcome based on formula, there is room for Messianic inspiration. I like the phrase, “The Eastern Orthodox Church knows where the Spirit is, but does not know where He is not.”

Chapter 5,

Unless, of course, he places the “idea of justice” in the eternal, messianic beyond where it cannot be reached by argument, and assumes that his ideologically sympathetic readers won’t ask too many questions.

I’m seeing correlations with the Last Judgment and its element of surprise. However, as Father Stephen highlights, Christ has come and we can find direction here. Plus we have intuition.

As to the rest of the chapter, Derrida’s right, people are seeking the Messiah in their politics,whether Marxist or Democratic, and that’s good, seeking the Messiah that is, but these ideologies have dissapointed. They fall short. Derrida very much criticized aspects of Marx, and by no means supports totalitarian regimes, and I got this from Lilla’s paper! Lilla’s defaming agenda towards Derrida and his belittling of his impressed readers is very oppositionally Platonic, but has less basis in fact (the ones thathe presents and supposedly support his conclusions) than he purports. Our Ochlophobist is right, he is a twit. Oops, that’s too anti. My lack of transcendence is showing.

Well this is just downright insulting, now Lilla thinks that Americans should hate themselves too. From Chapter 6,

No wonder a tour through the post-modernist section of any American bookshop is such a disconcerting experience. The most illiberal, anti-enlightenment notions are put forward with a smile and the assurance that, followed out to their logical conclusion, they could only lead us into the democratic promised land, where all God’s children will join hands in singing the national anthem. It is an uplifting vision and Americans believe in uplift. That so many of them seem to have found it in the dark and forbidding works of Jacques Derrida attests to the strength of Americans’ self-confidence and their awesome capacity to think well of anyone and any idea. Not for nothing do the French still call us les grands enfants.

I’ve been caught up in anti-post-modernist anti-dogmatism, but now I see that there’s room for some of it. The west has been too dogmatic and falsely confident about many things. We’re really not that far removed from cruelty to Others deemed less-than. Becoming Orthodox after 40 years of Protestant dogmatism has made me more open to the idea. Shouldn’t persecutors question their ideas? It’s only ok to be stubborn if you’re right, but then there’s mercy…

01.21.08

Deconstructing Lilla

Posted in Derrida at 1:42 pm by Andrea Elizabeth

Chapter 2

François Dosse describes Jacques Derrida’s doctrine of deconstruction as an “ultrastructuralism.” This is accurate enough but does not tell the whole story. In France at least, the novelty of deconstruction in the Sixties was to have addressed the themes of structuralism–difference, the Other–with the philosophical concepts and categories of Martin Heidegger. Derrida’s early writing revived a querelle over the nature of humanism which had set Heidegger against Sartre back in the late Forties and had many political implications. Derrida sided with Heidegger, whom he only criticized for not having gone far enough. And it is to that decision in favor of Heidegger that all the political problems of deconstruction may be traced.

…An intellectually consistent deconstruction would therefore seem to entail silence on political matters. Or, if silence proved unbearable, it would at least require a serious reconsideration of the anti-humanist dogmas of the structuralist and Heideggerian traditions. To his credit, Michel Foucault began such a reconsideration in the decade before his death. Jacques Derrida never has.

So if he’d sided with Marxist, humanist, European self-hatred promoting Sartre he’d have been more “correct”? What I like about deconstruction is that it promotes humility by saying that individual assumptions are usually not as stable and worthy of being built on as is supposed (the Orthodox Church’s dogmatic and inspired cataphatic conciliar teachings not included) These assumptions are worthy of being questioned, deconstructed, and opened up to let in more light. To assume that anyone has all the light available on any matter at all is prideful and false. But we can’t go around in total silence, paralyzed of any action at all. We walk in the light we have as we ask for more. There’s always more. No one has arrived, though Saints come the closest, and even they would deny it.

Plus the guilty by association of nazi tendancies is quite a stretch. Derrida didn’t think Heidegger or De Man, and I don’t even think he himself, had arrived.

Anyone who has heard him lecture in French knows that he is more performance artist than logician. His flamboyant style–using free association, rhymes and near-rhymes, puns, and maddening digressions–is not just a vain pose (though it is surely that). It reflects what he calls a self-conscious “acommunicative strategy” for combating logocentrism.

I’ve read a few of his poetic free associations and I like them. They are energizing, beautiful, intriguing, interesting, and in some ways innocently pure to me. I’ve read another person’s similar attempts that I now think were attempts at copying him. I found them energizingly intriguing, but they had an accusatory, derogatory component to them that was hurtful. I don’t want to justify my affinity for Derrida’s further right now till I know more.

Though I don’t agree with Lilla’s over-confident conclusions, I recognize that he is well-researched, which I’m not, so I’ll keep reading.

Next page