This essay will explore the deconstruction of gender stereotypes, which are defined as: “… the psychological traits and characteristics of, as well as the activities appropriate to, men or women” (Brannon) in Pride and Prejudice....
The fourth essay is an attempt to locate common ground. The authorposes the compromise solution of adopting a "constrained"program of deconstruction using the concepts of inter-activity andpositionality. This, would, the author asserts, create a common groundbetween the strong deconstructionists and the traditional objectivist. This position would allow the consideration of marginal points of view,including those of non-human animals. The fifth essay advises that theadoption of a paradigm of disorder and disturbance, such as has been embraced byecologists, not be adopted by historians. Rather, it is suggested that aparadigm which focuses on the inter-dependence of the social and the biologicalbe adopted. Such a position would allow and even value change, but would notembrace chaos.
The introductory chapter and the essays that follow are roughly divided by the editors into five groups. The first group outlines the theoretical implications of an "importation" of deconstruction into the visual arts. The first chapter provides the problematics that are the focus of the later essays: the question of Derrida's competence in fields other than philosophy. Throughout the interview, Derrida reformulates the visual in terms of the spatial.
The author of the second essay, Stephen Melville, specifically considers the fact of colour and outlines ways in which deconstruction may alter one's approach to the art object and itself be altered by the encounter. In the third essay Mieke Bal considers the light in Vermeer's and questions art history's search for original intentions and interpretations. She does indeed explore deconstructive notions of intertextuality, polysemy, and in particular dissemination and hymen. The third essay, written by Marie-Clair Ropars - Wuilleunmier, looks at Derrida's reading of Kant and the aesthetic, and uses as resource the cinematic example of Godard's (1983). This first section ends with Gregory Ulmer's contribution, which is a continuation of his "grammatological" project to translate deconstruction onto the pedagogical level as discovery or invention.
The second set of contributions address variations on the theme of "parergon" (the frame), and the question here is the boundaries between inside and out. Rodowick opens this section, arguing Derrida's deconstruction of Kant's , and, in fact, deconstructs the notion of the aesthetic itself which is very often considered in discussions about art. In the essay that follows, Lebensztein offers an exploration of multiple meanings and figurations of the physical frame as it has manifested itself through the history of art. In the final essay of this section, Donald Preziosi shows the importance of the museum itself as a powerful framing device with widespread political and theoretical consequences.
isrequired reading for PHIL 5140 as taught by Professor Dale Jamieson. This workwill be of interest to those are concerned with human conceptions of nature andthe threat of postmodern deconstructionism to nature itself. The firstof the essays, each by a different author, is entitled, "Nature under Fire"and is concerned with the philosophical assault on the boundary betweenhumans and nature. While the assertion that nature requires protection fromhuman activities begs the question of the boundary, deconstructingconcepts of nature and asserting nature to be no more than these humanconstructions leaves nature vulnerable to destruction.
is aphilosophical response to postmodern deconstructionism which questionsthe concepts of nature and wilderness in a way that potentially threatens theirexistence. The collection of nine freestanding essays each addresses a separatecriticism of postmodern deconstructionism.
This collection of essays provides a forum that represents new approaches to the study of the visual arts. The authors in this anthology deal with the applicability of the ideas of the French philosopher Jacques Derrida to the visual and media arts and to architecture. Although a number of works clearly influenced by deconstruction have began to appear in these fields, this edition brings together for the first time a group of previously unpublished essays that will be of interest to scholars of visual theory and spatial arts in general.
The second essay addresses asserted results of the deconstruction ofnature. The author asserts that such modern constructions as theme parks, mallswith simulated tropical jungles and other virtual simulations which are easierto control than nature itself are symptomatic of the larger dangers of deconstruction. The third essay addresses the natural-artificial distinction, which theauthor asserts to be a false distinction. He proposes that rather than thepolar positions of natural and artificial, a continuum conceptbe adopted which positions objects along a continuum ranging from realityto hyper-reality. The closer to reality an object is judged tobe the more genuine, serious and the more commanding itspresenceis considered to be. The author asserts that "... even if nature (reality)is to some extent a human invention, it still can be eloquent and inspiring andstill can invigorate the notion of excellence."
The essays of the last group are perhaps the most interesting of all. These manifest possible applications of deconstruction to film and television. Laura Oswald, in 'Cinema-Graphia: Eisenstein, Derrida, and the Sign of Cinema', compares Derrida's and Eisenstein's notions of the ideogram. In an intriguing debate, she finds that Eisenstein's cinematic practice is more radical than his writings. She then elaborates on her concept of 'cinema-graphia'. This is followed by Ingham's deconstuctive and anthropological approach to film. He politicises, together with Tom Conley, a quintessential manifestation of popular culture, Beverley Hills Cop. A trip into 1930s and 1940s popular culture follows, where Robert Ray offers an example of an 'alternative' deconstructive practice in the form of an application of the signature effect to Hollywood Andy Hardy movies. This last section closes with R. Dienst's rethinking of discourses of television studies by using Derrida's idea of the Postal (The Post Card) and is developed in . Dienst concludes this group with A Postal Axiom: "And the television has been on all this time - we know that much".
The concern of the eighth essay is best stated by the author. "Managementfor biodiversity in national parks is incompatible with management forwildness because it requires heroic and intrusive interventions,depriving visitors of the subjective experience of wildness." Theauthor examines the difficulty of the juggling act called ?multiple-use'. The final chapter addresses the "social siege of nature". The authorexamines the use of deconstructionism as a tool to justify greaterexploitation of nature and the possibility that its employment, through "afocus on power inequities, bias, and the myths that maintain them - may helpbalance the harm to living nature by the politics of deconstruction."