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As Graham Harman moans, “No figure in the history of philosophy is simultaneously so observant and so irritating as Jacques Derrida” (110).Indeed, Derrida leaves no pebble or pun unturned in his close reading of Joyce’s pioneering text.
Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight.
Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings.
This theory states that language is an inadequate method to give an unambiguous definition of a work, as the meaning of text can differ depending on reader, time, and context.
During his lifetime, he wrote more than 40 books on various aspects of deconstruction including Of Grammatology, Glas, The Postcard: From Socrates to Freud and Beyond, and Ulysses Gramophone: Hear Say Yes in Joyce.
Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour.
Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience.
As mentioned earlier, one’s signature can indeed operate as a Yes.
A signature can certify that Yes, I have read this document’s guidelines with my own eyes; or Yes, I can corroborate that I filled out this form truthfully; or Yes, the person before you is in fact the person he says he is.
Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible.
Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection.