This book questions the book itself, archivization, machines for writing, and the mechanicity inherent in language, the media, and intellectuals. Derrida questions what takes place between the paper and the machine inscribing it. He examines what becomes of the archive when the world of paper is subsumed in new machines for virtualization, and whether there can be a virtual event or a virtual archive. Derrida continues his long-standing investigation of these issues, and ties them into the new themes that governed his teaching and thinking in the past few years: the secret, pardon, perjury, state sovereignty, hospitality, the university, animal rights, capital punishment, the question of what sort of mediatized world is replacing the print epoch, and the question of the "wholly other." Derrida is remarkable at making seemingly occasional pieces into part of a complexly interconnected trajectory of thought.
德里达最糟糕的一面。各种应制之作:走穴场合的发言,对“德学”研究者的酬答等等。特点是疲于招架,总想取悦各方,走马灯式地开列思路纲要但舍不得用力说透,另外还特别流于表演和姿态。烈士暮年,身不由己。
评分德里达最糟糕的一面。各种应制之作:走穴场合的发言,对“德学”研究者的酬答等等。特点是疲于招架,总想取悦各方,走马灯式地开列思路纲要但舍不得用力说透,另外还特别流于表演和姿态。烈士暮年,身不由己。
评分德里达最糟糕的一面。各种应制之作:走穴场合的发言,对“德学”研究者的酬答等等。特点是疲于招架,总想取悦各方,走马灯式地开列思路纲要但舍不得用力说透,另外还特别流于表演和姿态。烈士暮年,身不由己。
评分德里达最糟糕的一面。各种应制之作:走穴场合的发言,对“德学”研究者的酬答等等。特点是疲于招架,总想取悦各方,走马灯式地开列思路纲要但舍不得用力说透,另外还特别流于表演和姿态。烈士暮年,身不由己。
评分德里达最糟糕的一面。各种应制之作:走穴场合的发言,对“德学”研究者的酬答等等。特点是疲于招架,总想取悦各方,走马灯式地开列思路纲要但舍不得用力说透,另外还特别流于表演和姿态。烈士暮年,身不由己。
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