>I would have thought that the 'reason' H. privileges "poesy" is because it
>is first and foremost (or, "proximally and for the most part") _writing_.
>The most multiple expression so far of the ineluctable manifold of possible
>meaning.
>
>The digressive line of flight elaborated under the name of 'derrida', which
>notes that there is nothing outside of the text, is merely an unravelling of
>this essential insight ('essential' means here: 'what it is, as it is, when
>it is - the word 'it' must, of course, be crossed out since it is never
>experienced as 'IT' (Being) but only 'it' (a being), one aspect, one
>interpretation, one thinking - at a time...
>Brendan
I think Derrida's phenomenological model of writing is a rather interesting
interpretation of Heidegger and the problem of language/Sprache, in fact I
think Derrida is one of the most interesting Heideggerean writers around
today, but does the world as text mean that a written text has a privileged
ontological status over say, an audio-visual text? And why, or for what
purpose rather? Would Derrida's deconstructive practice value Holderlin's
poesy as more essentially poetic than Van Gogh's dirty old shoes? But then
I guess that's a question for the Derrida list and the 'Truth in Painting'.
Malcolm
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---
>is first and foremost (or, "proximally and for the most part") _writing_.
>The most multiple expression so far of the ineluctable manifold of possible
>meaning.
>
>The digressive line of flight elaborated under the name of 'derrida', which
>notes that there is nothing outside of the text, is merely an unravelling of
>this essential insight ('essential' means here: 'what it is, as it is, when
>it is - the word 'it' must, of course, be crossed out since it is never
>experienced as 'IT' (Being) but only 'it' (a being), one aspect, one
>interpretation, one thinking - at a time...
>Brendan
I think Derrida's phenomenological model of writing is a rather interesting
interpretation of Heidegger and the problem of language/Sprache, in fact I
think Derrida is one of the most interesting Heideggerean writers around
today, but does the world as text mean that a written text has a privileged
ontological status over say, an audio-visual text? And why, or for what
purpose rather? Would Derrida's deconstructive practice value Holderlin's
poesy as more essentially poetic than Van Gogh's dirty old shoes? But then
I guess that's a question for the Derrida list and the 'Truth in Painting'.
Malcolm
--- from list heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx ---