Alice Serra

This book departs from the investigation into how images appear and, in their event as images, points to something that does not quite coincide with the phenomenon itself. It first turns to Husserl's analyses of image consciousness and on the basis of some of his remarks shows how image phenomenology is deployed or displaced in post-structuralist approaches and their effects in the thinking of Jacques Derrida, Gilles Deleuze, Roland Barthes, Hubert Damisch and Georges Didi-Huberman.
Principally based on the deconstructive thinking of Jacques Derrida in its intertextuality with Husserl’s phenomenology, both the contributions and certain limitations of the phenomenology of image consciousness are emphasized. By situating phenomenological research in the context of the "iconic turn" of the twentieth century, this publication extends its scope to questions of sign and image, deconstructions of the perspectival gaze, philosophy of drawing and photography. It appeals to researchers working in these fields and readers with an interest in phenomenology, French post-structuralism and contemporary image theories.

Dieses Buch geht von der Frage aus, wie Bilder erscheinen und in ihrem Geschehen als Bild auf etwas hinweisen, das mit dem Phänomen selbst nicht zusammenfällt. Es wendet sich zunächst Husserls Analysen zum Bildbewusstsein zu und zeigt anhand einiger seiner Anmerkungen, wie in post-strukturalistischen Ansätzen und ihren Wirkungen im Denken von Jacques Derrida, Gilles Deleuze, Roland Barthes, Hubert Damisch und Georges Didi-Huberman die Bildphänomenologie entfaltet oder verschieben wird.
Zuerst lassen sich mit Jacques Derridas dekonstruktivem Denken in seinen intertextuellen Hinweisen auf Husserls Phänomenologie sowohl Beiträge der Phänomenologie zum Bildgeschehen als auch deren Grenzen hervorheben. Indem diese Schrift die phänomenologische Forschung im Kontext der „Ikonischen Wende“ des 20. Jahrhunderts situiert, erweitert sie ebenso ihre Wirkungsgeschichte hin zu Fragen nach Zeichen und Bild, Dekonstruktionen des perspektivischen Blicks, zur Philosophie der Zeichnung und der Photographie. Sie richtet sich an in diesen Bereichen Forschende und an Phänomenologie, französischem Post-strukturalismus und zeitgenössischer Bildtheorie interessierte Lesende.

Contemporary works of art, such as those by Anselm Kiefer, Ai Weiwei, Ibrahim Mahama, Daniel Senise, Ana Pi and Taata Imê, incite us to think differently about memory and forgetting through the singular dispositions of fragments and ruins. In order to highlight the contribution of these works to thinking about the contemporary, this paper first proposes to situate the specificity of the respective themes in contemporary philosophical elaborations. Based on considerations by Bergson, Benjamin, Ricoeur, Assmann, Simmel and Derrida, it emphasizes the extent to which vitalist or continuist conceptions of memory and remembering have given way to the problem of forgetfulness, to underlining the fragmentary condition of historical experience and to deepening the notion of ruin. It will then be thermalized how the contemporary is differentially signaled in fragments and ruins in the aforementioned works of art.

This text starts from the connection between thought, image and body emphasized by Jean-Luc Nancy in some of his works (Le poids d’une pensée; Corpus; etc.). Then his considerations on the peculiar conditions of bodies and touching (toucher) are discussed, which, figured in images (paintings and engravings), present the motif of Noli me tangere (Do not touch me) in his homonymous work. In a second moment, this text turns to works by the visual artist Giuseppe Penone, in which the non-figurative procedure based on impressions and traces implies a more accentuated remission to hand gestures that are no longer present. Nancy’s thought and that of Jacques Derrida, whose intertextuality was particularly underlined by the latter in the book Le toucher: Jean Luc Nancy, will provide an approximation to Penone’s work; this, in turn, will allow rereading, through a “textual detour”, some steps of Nancy’s ponderations.

This article focuses on possible convergences between phenomenology and anthropology and underlines their contributions to the analysis of a specific topic. In its reconstructive dimension it departs from Edmund Husserl's positions in the letter he addressed to Lucien Lévy-Bruhl in 1935, in particular on the relationship between humanity and the surrounding word (Umwelt) and on the opposition between historical societies and primitive ahistorical societies. After having noted some critical points emerging from Husserl's considerations, this text retraces some of its repercussions on the thought of Maurice Merleau-Ponty and Jacques Derrida, whose diverging interpretations open up different ways of examining the relationship between the respective phenomenological and anthropological perspectives. Finally, with the aim of rethinking the contributions of these two fields to address the problem of the co-participation and the differentiations between the archaic and the current in descripted social structures by Lévy-Bruhl, this text turns to the specific temporality of totemic presentifications, which should become phenomenologically more detailed.

This text addresses some methodological and historical problems concerning the phenomenology of image consciousness (Phänomenologie des Bildbewusstseins) elaborated by Edmund Husserl as well as some of its theoretical repercussions. At first, I examine the broader scope in which the philosophical approach to images became relevant in the 20th century, the so-called “iconic turn” (ikonische Wenke) or “pictorial turn”, according to the respective terms proposed by Gottfried Boehm and William Mitchell. In this context I situate the phenomenology of image and, more specifically, the phenomenology of image consciousness elaborated by Husserl, considering, in particular, the guiding axes of three directions that stand out in contemporary theories of image, namely: the anthropological, the semiotic and the perceptual approach. By the resumption of semiotic nuances remaining in the phenomenology of image consciousness I present some critical points about the classification of Husserl’s analyses in the scope of perceptual approach. Finally, I point out some implications of the co-belonging to the intuitive image presentation (anschaulicher Darstellung des Bildes) of what can be called “indicative circumstantiality”.

This article analyses some modalities of the relationship to what is 'other' from two perspectives. The first one is offered by the Brazilian anthropologist Eduardo Viveiros de Castro, who describes the variations of suffixes in Amerindian languages. This variation depends on the circumstances in which what is other appears and is meaningful. The second perspective comes from Jacques Derrida's readings of Edmund Husserl's phenomenology, mainly about passive synthesis, hetero-affection, and the constitution of otherness. I show how some of Viveiros de Castro's analyses of the encounter with the other, including non-human others, deconstruct noetic intentionality by stressing the circumstantial and partially contingent point of view from which the subject and what is other are seen. download article 132.230.195.86.

This text underlines the way in which, for Georges Didi-Huberman, topics including matter, symptom and memory become primordial to the thinking of images. But as Didi-Huberman proceeds, the course that leads him to highlight such topics first addresses other topics that, inphilosophy and iconography, sought to deny such readings, namely: image as form and its correlative meanings, that is, image as symbol and image as visibility. Didi-Huberman, however, argues that the notion of form may no longer be merely opposed to that of matter, nor be considered as solely idealistic. If, on the one hand, Didi-Huberman presents the insufficiency of the deconstruction of the notion of form presented by Jacques Derrida, on the other hand, the displacements of the notion of form proposed specially in Ce que nous voyons ce qui nous regardepoint to an approximation to deconstruction, mostly to the themes of trace, index and “the belows” (les dessous) of images. In addition, passages of this and other works of Didi-Huberman may insinuate a connection between the notions of trace and aura, which refer to convergences concerning the deconstruction of the visible and the dialectical image. This text seeks to reconstruct such directions from writings of Didi-Huberman and, in this way, restores other writings that border on them: specially from Jacques Derrida and Walter Benjamin.
Keywords
image; Didi-Huberman; Derrida; Benjamin; memory; aura

Ce texte se propose d’exposer certaines convergences entre la pensée de l’image chez Jacques Derrida, Gilles Deleuze et Georges Didi-Huberman, à partir d’une problématique qui, bien que traitée différemment par chacun de ces auteurs, met en évidence la manière dont les images, malgré leur caractère spécifique de visibilité, se structurent par l’interférence d’autres niveaux constitutifs hétérogènes. Assujettie à l’inscription du non-visible ainsi qu’à l’incidence des jeux d’intensité au coeur du sensible, l’apparition des images se laisse déconstruire en tant que surface disponible à la présentification et décodification de sens idéaux qui subsisteraient avant et à travers elles. Même si aucun de ces auteurs ne s’exempte de penser une structuration minimale des images, envisagée comme délimitation – bien que faible et mouvante – de ses possibilités d’inscription et de monstration, cette structuration n’agit en tant que telle que
si elle se laisse dans le même temps affecter par l’émergence de l’imprévu et de ce qui ne se laisse pas régler préalablement.

The present text focuses on the problem of limits or boundaries, thematized through two converging themes in Jacques Derrida's writings: the question of the ends of man and the problem of human-animal limitrophies. Thence, I will firstly address the arguments from Derrida's The Ends of Man, written in 1968 and published in Margins of Philosophy. It will be then indicated how Derrida correlates both notions of end and limit within this text by deconstructing the anthropological interpretations ascribed to Hegel, Husserl and Heidegger. Finally, it will be shown how the notions of end of man as much as of human and animal limits are developed later, when Derrida revises the question of borders, their transgressions and differences in the following texts: Aporias: Dying-Awaiting (One Another at) the 'Limits of truth' (1994); The Animal that Therefore I am (1999); The Beast and the Sovereign (2001).
Keywords: deconstruction, phenomenology, anthropologism, animal, limit,
boundary

This text starts from the deconstruction of the visible, inscribed in texts of Jacques
Derrida. In the photograph, the visibility of what appears is linked to the notions of
perspective and framing, which evoke the centrality of the photographer's gaze in relation
to the captured scene. It will be shown how these notions are deconstructed by Derrida's
senses of photo-graphy, by emphasizing the term -graphy and its implications for the
image’s presentation. An approximation between the quasi-concept of photo-graphy
(Derrida) and what Borges denominates ur objects is proposed, indicating how both
authors calls into question ontological determinations of the photographic image. The
supposed primacy of the moment, as if the photography joins the temporalities of who
photographs and of what is photographed, can also be deconstructed, as will be
emphasized in the dialectic between instant, wait (espera) and expectation. Such
approaches will enable to think, finally, of the spacings of contemporary photography,
based on the photographical work of Miguel Rio Branco.
Keywords: photography – time – Derrida – Borges - Miguel Rio Branco

In Critics of pure reason the notion of affection appears at first in the
"Transcendental Aesthetic" (B 67-69, 93) and is unfolded on the notion of selfaffection
in the "Transcendental Analytic" (B 153-156). Husserl, in manuscripts
written from 1918 (Husserliana XI), presents some developments of these
Kantian notions. If by affection Kant explains that something can be given to
the subject from the sensibility, that is, something that affects oneself from the
external and the internal sense, however, Husserl extends the analysis of
affection toward a broad spectrum of underlying phenomena, such as volitive
acts, imaginative acts, drives and affects. Husserl also analyzes from a
phenomenological point of view the Kantian implicit condition that, if anything
is given to the subject in the internal consciousness of time, the relationship to
itself must be thought as a temporal process (or as temporal structuring modes
of consciousness). I intend to show that Husserl’s analysis of affection and its
modulations unveil possible theoretical directions departing from Kant, but in
this step, involving a change of focus on the transcendental field, more
specifically on the transcendental foundation of temporality.
Keywords: Kant, Husserl, affection, temporality, passive synthesis.

This text approaches some contemporary works in the visual arts (works by G. Penone, R. Smithson, C. Casanova) which present different relations and dispositions of a material taken to be natural: stone. I intend to revisit the distinctions presented by Heidegger between mere things, utensils and works of art, as well as between stone, animal and man in connection with the world. Furthermore, I will discuss dislocations regarding such issues, based on indications from deconstruction (Jacques Derrida and other authors). I aim to indicate some of the meanings under which deconstructive approaches are fruitful for thinking about contemporary movements within the scope of what Derrida calls “spatial arts”.
KEYWORDS: Visual arts. Heidegger. Deconstruction. Derrida.

ZUSAMMENFASSUNG
Dieser Text geht von der Frage nach der Wahrheit, die durch
die Rekonstruktion der Auseinandersetzung zwischen drei Vertreter des
zeitgenössischen philosophischen Denkens dargelegt wird, nämlich: Edmund
Husserl, Jean-Luc Marion und Jacques Derrida. Wenn bei Husserl das Problem
der Wahrheit mit der Analyse der verschiedenen Modalitäten der Anschauung
zusammengehört, in denen sich das Phänomen bewusst eintritt, wiederum mag
Marion de Darstellungsweise des Phänomens mit dem Begriff „Gegebenheit“
(donation) umfassen: somit schließt diese nicht nur die Modalitäten der
Anschauung ein, sondern auch die Intentionalität selbst, die sich irgendein etwas
wendet. Nun weißt Derrida durch die Dekonstruktion der phänomenologischen
Begriffe Anschauung und Gegebenheit darauf hin, dass die phänomenologische
Betrachtung nicht ausreicht, um Zusammenhänge und Umstände nachzudenken,
in denen sich die Wahrheit ohne anschaulichen Zug, ohne subjektive Intentionalität
und in Widerstand gegenüber ihrer eigenen Sichtbarkeit anzeigt. Solche Nuancen
hebt Derrida hervor, indem er die Gegebenheit und die „Gabe“ (don) kontrastiert,
und schließlich, indem er der Wahrheit den Charakter des Zeugnisses (témoignage)
zuschreibt.
Schlüsselwörter: Wahrheit – Anschauung – Gegebenheit (donation) – Gabe (don)
– Zeugnis (témoignage)
RESUMO
Este texto parte da questão da verdade, que será pensada reconstruindo-se
o diálogo entre três autores, no âmbito do pensamento fi losófi co contemporâneo:
Edmund Husserl, Jean-Luc Marion e Jacques Derrida. Num primeiro momento,
será mostrado que, se em Husserl o problema da verdade vinculou-se à análise dos
modos em que o fenômeno se mostra à consciência em diferentes modalidades
de intuição (Anschauung), Marion, por sua vez, pretende abarcar as formas
de manifestação do fenômeno no conceito de doação (donation): este passa
a abranger não somente as modalidades de intuição, mas também a própria
intencionalidade que se volta a algo. Num segundo momento, será indicado
como Derrida, ao desconstruir as noções fenomenológicas de intuição e doação,
insinua que a questão da verdade tratada pela fenomenologia é insufi ciente para
se pensar contextos e circunstâncias em que a verdade pode se apresentar sem
caráter intuitivo, sem intencionalidade subjetiva e em resistência à sua própria
manifestação. Tais nuances Derrida sublinha ao contrastar a doação ao dom (don)
e, fi nalmente, como se verá na terceira parte do texto, ao atribuir à verdade o
caráter de testemunho (témoignage).
Palavras-chave: verdade – intuição – doação – dom – testemunho

This paper considers two different directions of thought concerning the image in the context of phenomenological and deconstructive approaches. To begin with, the theoretical course will be presented in which Edmund Husserl elaborates his phenomenology of image, in a so-called idealistic approach, centered on the notion of Fiktum. Subsequently, Jacques Derrida's thought about the image and related fields-painting, drawing, writing as inscription will be deal with indicating how the author emphasizes the theme of support or "un-dersides" (les dessous) in order to reflect on the multiple instances of meaning and the levels of invisibility that permeate the visible.

ABSTRACT
This text begins with Derrida’s considerations about Hegel's philosophy, more specifically,  regarding the "dialectic of master and slave" and Hegel's theories about the sign and symbol. Then it passes through Husserl's conceptions about language, ap-presentation of the other, symmetry and asymmetry. Referring again to other texts of Derrida in which the themes of language and otherness appear in a deviant way in relation to logocentric discourses, this paper highlights the question of difference that, between symmetry and asymmetry, refracts into a language of appropriating and to an idea of unilateral or purely mutual recognition.
KEYWORDS: Derrida; Hegel; Husserl; language; otherness

RESUMO Este artigo enfoca o modo como a teoria husserliana da lembrança se insere, por um lado, na estrutura signifi cativa formulada primeiramente nas Investigações lógicas e, por outro, nos moldes da percepção como unidade temporal. Para tanto, apresenta-se, respectivamente na primeira e na segunda seções, o arcabouço das teorias husserlianas da signifi cação e da percepção como retenção. Na terceira seção, é analisada a segunda forma de lembrança-a rememoração-, segundo o fi o condutor em que Husserl a investiga nos contextos da atenção, retenção, afecção e inconsciente. Finalmente, será considerado se o núcleo teórico da primazia do signifi cado e do fl uxo da consciência é, de fato, uma base propícia para a compreensão da lembrança em seu caráter de signo. ABSTRACT This paper focuses on how Husserl's theory of memory is introduced, both in his signifi cant structure, that was fi rst formulated in the Logical Investigations and in the patterns of perception as a temporal unit. The fi rst and second sections show, respectively, the framework of Husserl's theories of meaning and perception as retention. In the third section, the second mode of memory-recollection-is analyzed according to the thread that Husserl investigates in the contexts of attention, retention, affection and

The concept Deckerinnerung (en. screen-memory), which appeared in Freud’s work in 1899, points towards the important epistemological question about the possibility of adequation or coincidence (Deckung) between past experience and the current act that is being presentified. This can take the form of remembering as such or be conceived as fantasy. In order to clarify the differences between fantasy and memory, or rather their interconnection in the Deckerinnerung, they need to be looked at phenomenologically, and in doing so various aspects should be analysed, such as: the character of positional and neutralised acts of presentification; the interference of conscious attention and the phenomenon of inhibition in the act of presentification; the state of memories in the unconscious and the possibilities of their association between themselves or modification by other current acts. While Freud introduces the subject without further analysing it, Husserl’s theories offer a valuable contribution here. In this context, there is first a need to outline the way in which Husserl’s investigations into memory come close to Freud’s discourse, in the sense that they lead to a “Phenomenology of the Unconscious” (Hua XI; Mat. VIII).

This study intends to place Benjamin’s reflections on the trace (Spur)into the context of a Spur’s archeology, thought Husserl’s, Freud’s and
Derrida’s works into consideration. This study primarily aims at a quasi-transcendental analysis (Derrida) that concerns the conditions under which the remission of current experiences dealing with (re)presentification (fantasy and memory) to previous ones is possible. In this approach, archaeology is seen less as a reappropriation of origin (arché) of what presents itself phenomenologically, but rather as an analysis of the strata of sedimentation and the levels of dissemination of an object or piece of an object that appears by itself or that can be inferred to from others.

RESUMÉ
Il s’agit d’abord d'examiner la façon dont les théories de Freud sur l’après-coup et la trace psychique contribuent à la formulation de certains concepts fondamentaux de la déconstruction: la trace, l’archi- écriture, la différance. Il sera ensuite question de la critique derridienne de la philosophie de la présence de Husserl. Enfin, il faudra se demander dans quelle mesure l’opposition proposée par Derrida entre la pensée de Husserl et la pensée de la différance n'appelle pas un dépassement.
MOTS-CLÉS
Après-coup, trace, différance, affection, don

Abstract: This study is an attempt to comprehend Ockham’s solution to the problem
of universals. As he dismisses the whole ontology of universals, Ockham constructs
a new elaboration of the theme, centred on the field of mental language and
significance. However, the subtle formulation of Ockham’s arguments will be revealed
through his dialogue with a few of his interlocutors, such as Scotus and St Augustine.
The analysis of some arguments of Summa Logicae will show that the construction
of a philosophy of language brings with it elements of the parallel deconstruction of
the metaphysical realm.
Key words: Ockham, universals, language, metaphysics.

Die vorliegende Studie widmet sich einer Annährung zwischen Sigmund Freuds frühen metapsychologischen Theorien und Edmund Husserls Analysen im Rahmen seiner Phänomenologie des Unbewussten. Freuds frühe Untersuchungen zur Erinnerung (als bewusster Akt und als unbewusste Erinnerungsspur) bahnen in werkgenetischer Sicht den Weg zur Formulierung seiner metapsychologischen Theorie des Unbewussten. Husserl nimmt, ausgehend von der Problematik der Evidenz in der Erinnerung, eingehende Analysen im Forschungsfeld der passiven Synthesen, der Zeitkonstitution und der Triebintentionalität. Die Darlegung der Punkte, in denen sich die Theorien beider Autoren in einer historischen Sicht-durch den gemeinsamen Einfluss aus dem Denken Brentanos und Herbarts-und in einer Deutungsperspektive treffen, die auf die phänomenologisch-transzendentale Begründung von Freuds Metapsychologie zuläuft, trägt zum einen zu neuem Verständnis des Verhältnisses zwischen bewusstem und unbewusstem Leben und zum anderen zur systematischen Durchdringung der Parallelen, Verbindungen und Unterschiede zwischen phänomenologischen und psychoanalytischen Ansätzen bei.