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Deconstruction
Deconstruction ((フランス語:déconstruction)) is a critical outlook concerned with the relationship between text and meaning. Jacque Derrida’s 1967 work ''Of Grammatology'' introduced the majority of ideas influential within deconstruction.〔Derrida first used the term "Deconstruction" in his work "Of Grammatology", French version, p. 25 (''Les Éditions de Minuit'', 1967, ISBN 978-2-7073-0012-6). On this page Derrida states that the occidental history of signs is essentially theological with reference to Logocentrism. Derrida starts a metaphysical approach of semiology. He states that the concept of sign and deconstruction work are always exposed to misunderstanding. He uses the term "méconnaissance" probably in reference to Jacques Lacan who rejected the belief that reality can be captured in language. In the same page Derrida states that he will try to demonstrate that there is no linguistic sign without writing.〕 According to Derrida and taking inspiration from the work of Ferdinand de Saussure, language is a system of signs and words only have meaning because of the contrast between these signs. As Rorty contends "words have meaning only because of contrast-effects with other words...no word can acquire meaning in the way in which philosophers from Aristotle to Bertrand Russell have hoped it might—by being the unmediated expression of something non-linguistic (e.g., an emotion, a sense-datum, a physical object, an idea, a Platonic Form)". As a consequence meaning is never present, but rather is deferred to other signs. Derrida refers to the, in this view, mistaken belief that there is a self-sufficient, non-deferred meaning as metaphysics of presence. A concept then must be understood in the context of its opposite, such as being/nothingness, normal/abnormal, speech/writing, etc.
Finally, Derrida argues that it is not enough to expose and deconstruct the way oppositions work and then stop there in a nihilistic or cynical position, "thereby preventing any means of intervening in the field effectively". To be effective, deconstruction needs to create new terms, not to synthesize the concepts in opposition, but to mark their difference and eternal interplay. This explains why Derrida always proposes new terms in his deconstruction, not as a free play but as a pure necessity of analysis, to better mark the intervals. Derrida called undecidables, that is, unities of simulacrum, "false" verbal properties (nominal or semantic) that can no longer be included within philosophical (binary) opposition: but which, however, inhabit philosophical oppositions, resisting and organizing it, without ever constituting a third term, without ever leaving room for a solution in the form of Hegelian dialectics (e.g. différance, archi-writing, pharmakon, supplement, hymen, gram, spacing).
In the 1980s, the Postmodernism era, deconstruction was being put to use in a range of theoretical enterprises in the humanities and social sciences, including law〔("Critical Legal Studies Movement" ) in "The Bridge"〕〔(GERMAN LAW JOURNAL, SPECIAL ISSUE: A DEDICATION TO JACQUES DERRIDA ), Vol. 6 No. 1 Pages 1 - 243 1 January 2005〕 anthropology,〔"Legacies of Derrida: Anthropology", Rosalind C. Morris, ''Annual Review of Anthropology'', Volume: 36, pages: 355–89, 2007〕 historiography,〔"Deconstructing History", published 1997, 2nd. Edn. Routledge, 2006〕 linguistics, sociolinguistics,〔"The sociolinguistics of schooling: the relevance of Derrida's Monolingualism of the Other or the Prosthesis of Origin", Michael Evans, 01/2012; ISBN 978-3-0343-1009-3 In book: ''The Sociolinguistics of Language Education in International Contexts'', Publisher: Peter Lang, Editors: Edith Esch and Martin Solly, pp. 31–46〕 psychoanalysis, feminism, and LGBT studies. In the continental philosophy tradition, debates surrounding ontology, epistemology, ethics, aesthetics, hermeneutics, and philosophy of language still refer to it today. Within architecture it has inspired deconstructivism, and it remains important in general within art,〔E.g., "Doris Salcedo", Phaidon (2004), "Hans Haacke", Phaidon (2000)〕 music,〔Deconstruction in Music - The Jacques Derrida, Gerd Zacher, ''Encounter'', Rotterdam, The Netherlands, 2002〕 and literary criticism.〔E.g. ''The Return of the Real'', Hal Foster, October - MIT Press (1996); ''Kant after Duchamp'', Thierry de Duve, October - MIT Press (1996); ''Neo-Avantgarde and Cultural Industry - Essays on European and American Art from 1955 to 1975'', Benjamin H.D. Buchloh, October - MIT Press (2000); ''Perpetual Inventory'', Rosalind E. Krauss, October - MIT Press, 2010〕
== Etymology ==
Derrida's original use of the word "deconstruction" was a translation of ''Destruktion'', a concept from the work of Martin Heidegger that Derrida sought to apply to textual reading. Heidegger's term referred to a process of exploring the categories and concepts that tradition has imposed on a word, and the history behind them.〔Martin Heidegger (1927) ''Being and Time'', (Introduction ), part II.5, § 21-23〕 Derrida opted for ''deconstruction'' over the literal translation ''destruction'' to suggest precision rather than violence.
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