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Speech and Phenomena: And Other Essays on Husserl's Theory of Signs: 1st (First) Edition, by David B. Allison (Translator), Newton Garver
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- Published on: 1979-01-28
- Binding: Paperback
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THE FOUNDER OF DECONSTRUCTION PROVIDES A LINGUISTIC CRITIQUE OF HUSSERL
By Steven H Propp
Jacques Derrida (1930–2004) was a French philosopher and writer, best known for developing a form of semiotic analysis known as “Deconstruction.”
[NOTE: page numbers refer to the 166-page paperback edition.]
He wrote in the first chapter of this 1967 book, “The historic destiny of phenomenology seems in any case to be contained in these two motifs: on the one hand, phenomenology is the reduction of na�ve ontology, the return to an active constitution of sense and value, to the activity of a LIFE which produces truth and value in general though its signs. But at the same time, without being simply juxtaposed to this move, another factor will necessarily confirm the classical metaphysics of presence and indicate the adherence of phenomenology to classical ontology. It is with this adherence that we have chosen to interest ourselves.” (Pg. 28-29)
He begins chapter 6 with the statement, “Phenomenological ‘silence,’ then, can only be reconstituted by a double exclusion or double reduction: that of the relation to the other within me in indicative communication, and that of expression as a stratum that is subsequent to, above, and external to that of sense. It is in the relation between these two exclusions that the strange prerogative of the vocal medium will become clear. We shall start with a consideration of the first reduction as it figures in the ‘essential distinctions,’ to which we are here restricting our inquiry. One must admit that the criterion for the distinction between expression and indication in the end rests on an all too summary description of ‘inner life.’ It is argued there is no indication in this inner life because there is no communication; that there is no communication because there is no ALTER EGO. And when the second person does emerge in inner language, it is a fiction; and, after all, fiction is only fiction. ‘You have gone wrong, you can’t go on like that’---this is only a false communication, a feigned communication.” (Pg. 70) Later in the chapter, he adds, “Hearing oneself speak is not the inwardness of an inside that is closed in upon itself; it is the irreducible openness in the inside; it is the eye and the world within speech. Phenomenological reduction is a scene, a theater stage.” (Pg. 86)
He points out, “[A statement like] ‘The circle is square’… has no possible object, but it makes sense only insofar as its grammatical form tolerates the possibility of a relation with its object. The efficiency and the form of signs that do not obey these rules, that is, that do not promise any knowledge, can be determined as nonsense only if one has antecedently, and according to the most traditional philosophical move, defined sense in general on the basis of truth as objectivity. Otherwise we would have to relegate to absolute nonsense all poetic language that transgresses the laws of this grammar of cognition and is irreducible to it. In the forms of nondiscursive signification… as well as in utterances such as ‘Abracadabra’ or ‘Green is where,’ there are modes of sense which do not point to any possible objects. Husserl would not deny the signifying force of such formations: he would simply refuse them the formal quality of being expressions endowed with SENSE, that is, of being logical, in the sense that they have a relation with an object. All of which amounts to recognizing an initial limitation of sense to knowledge, of logos to objectivity, of language to reason.” (Pg. 99)
In his 1968 essay ‘Difference,’ he begins with the statement, “The verb ‘to differ’ [diff�rer] seems to differ from itself. On the one hand, it indicates difference distinction, inequality, or discernibility; on the other, it expresses the interposition of delay, the interval of a SPACING and TEMPORALIZING that puts off until ‘later’ what is precisely denied, the possible that is presently impossible. Sometimes the DIFFERENT and sometimes the DEFERRED correspond to [in French] to the verb ‘to differ.’ This correlation, however, is not simply one between act and object, cause and effect, or primordial and derived. In the one case ‘to differ’ signifies nonidentity; in the other case it signifies the order of the SAME. Yet there must be a common, although entirely different [diff�rante], root within the sphere that relates the two movements of differing to one another. We provisionally give the name ‘difference’ to this SAMENESS which is not IDENTICAL: by the silent writing of its ‘a,’ it has the desired advantage of referring to differing, BOTH as spacing/temporalizing and as the movement that structures every dissociation.” (Pg. 129-130)
This is one of Derrida’s most significant works, and will be of great interest to anyone studying his thought.
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