scholarly journals Detours and Deviations of Letter and Spirit: A Forum on Jacques Derrida’s Specters of Marx after 25 Years, Part VI

2020 ◽  
Vol 42 (1) ◽  
pp. 173-197
Author(s):  
Jean Tible ◽  
Dirce Eleonora Nigro Solis ◽  
Michael J. Shapiro
Keyword(s):  
Jacques Derrida ◽  
The State ◽  
University Of California ◽  
Quarter Century ◽  
The Past ◽  
Frederic Jameson ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Critical Literature

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this sixth group of contributions, Jean Tible sketches how spectrality and phantasmagoria continue to animate recent inheritances of both Derrida’s and Marx’s texts so as to inspire novel thought-struggles; Dirce Eleonora Nigro Solis considers Derrida’s engagement with the question ‘Whither Marxism?’ as a politico-philosophical model of deviation that provokes the displacement of Marxian axioms and a renovation of Marxist and deconstructive thinking for the period of neoliberalism; finally, Michael Shapiro traces a different detour in Derrida’s thought and shows that Derrida’s deviant reading of Freud’s construction of repression opens up the past and the archive to non-official constructions of collective history.

scholarly journals Disobeying Marx, Disobeying Derrida—Hopes & Risks: A Forum on Jacques Derrida’s Specters of Marx after 25 Years, Part II

2019 ◽  
Vol 41 (3) ◽  
pp. 643-662
Author(s):  
Aggie Hirst ◽  
Tom Houseman ◽  
Paulo Cesar Duque-Estrada ◽  
Jenny Edkins ◽  
Cristiano Mendes
Keyword(s):  
Jacques Derrida ◽  
The State ◽  
University Of California ◽  
Quarter Century ◽  
Frederic Jameson ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Critical Literature

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this group of contributions, Aggie Hirst and Tom Houseman, Paulo Cesar Duque-Estrada, Jenny Edkins and Cristiano Mendes reflect on the legacies of Marx and Derrida: on whether Derrida emphasized the wrong Marxian heritage, on the promise and risks of hauntology, on the ghostly potential for justice amidst devastation, and on the paradox of deconstruction’s legacy itself.

scholarly journals On the Spectrality of the Inter-state-eal/International: A Forum on Jacques Derrida's Specters of Marx after 25 Years, Part III

2019 ◽  
Vol 41 (3) ◽  
pp. 663-687
Author(s):  
Jessica Auchter ◽  
Bruna Holstein Meireles ◽  
Victor Coutinho Lage
Keyword(s):  
Jacques Derrida ◽  
The State ◽  
University Of California ◽  
Quarter Century ◽  
Foreign Guest ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Critical Literature ◽  
Inter State

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this third group of contributions, Jessica Auchter, Bruna Holstein Meireles and Victor Coutinho Lage draw broadly on Derrida’s writings to explore the spectrality of the international or inter-state-eal: of politics itself being based on hospitality toward the ghost as foreign guest, of the possibility of enacting a politics of spectrality that might aspire to a new kind of universality, and of how a ‘without international’ might escape the series of prisons that constitutes the international.

scholarly journals The Political Import of Deconstruction—Derrida’s Limits?: A Forum on Jacques Derrida’s Specters of Marx after 25 Years, Part I

2019 ◽  
Vol 41 (3) ◽  
pp. 621-642
Author(s):  
Maja Zehfuss ◽  
Antonio Y. Vázquez-Arroyo ◽  
Dan Bulley ◽  
Bal Sokhi-Bulley
Keyword(s):  
Jacques Derrida ◽  
The State ◽  
Global Politics ◽  
University Of California ◽  
The Political ◽  
Quarter Century ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Critical Literature

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. Maja Zehfuss, Antonio Vázquez-Arroyo and Dan Bulley and Bal Sokhi-Bulley offer sharp, occasionally exasperated, meditations on the political import of deconstruction and the limits of Derrida’s diagnoses in Specters of Marx but also identify possible paths forward for a global politics taking inspiration in Derrida’s work of the 1990s.

scholarly journals Specters of Colonialidade: A Forum on Jacques Derrida’s Specters of Marx after 25 Years, Part V

2020 ◽  
Vol 42 (1) ◽  
pp. 149-171
Author(s):  
Carla Rodrigues ◽  
Rafael Haddock-Lobo ◽  
Marcelo José Derzi Moraes
Keyword(s):  
Jacques Derrida ◽  
The State ◽  
University Of California ◽  
Quarter Century ◽  
European Philosophy ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Forms Of Violence ◽  
Critical Literature

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this fifth group of contributions, three philosophers explore the specters of colonialidade, the specifically Brazilian legacies of Portuguese and European coloniality. Carla Rodrigues opens the dialogue by exploring the haunting and melancholy provoked by colonial forms of violence and shows how confronting Brazilian necropolitics sustains the Derridean legacy; Rafael Haddock-Lobo offers a meditation on the difficulties of being before the law and standing before specters as a means of being justly haunted by the others of European philosophy in Brazil; finally, Marcelo Moraes continues the theme of Europe as a specter-producing machine and invokes specifically the presences of indigenous and Afro-Brazilian political resistances with the aim of deconstructing coloniality.

scholarly journals Ambivalent Promises—Reproductions of the Subject: A Forum on Jacques Derrida’s Specters of Marx after 25 Years, Part IV

2020 ◽  
Vol 42 (1) ◽  
pp. 125-148
Author(s):  
Thomas Clément Mercier ◽  
Paulo Chamon
Keyword(s):  
Jacques Derrida ◽  
Critical Assessment ◽  
University Of California ◽  
Quarter Century ◽  
Fourth Group ◽  
The Subject ◽  
Work Of Mourning ◽  
Antonio Negri ◽  
The University ◽  
Critical Literature

Abstract Jacques Derrida delivered the basis of The Specters of Marx: The State of the Debt, the Work of Mourning, & the New International as a plenary address at the conference ‘Whither Marxism?’ hosted by the University of California, Riverside, in 1993. The longer book version was published in French the same year and appeared in English and Portuguese the following year. In the decade after the publication of Specters, Derrida’s analyses provoked a large critical literature and invited both consternation and celebration by figures such as Antonio Negri, Wendy Brown and Frederic Jameson. This forum seeks to stimulate new reflections on Derrida, deconstruction and Specters of Marx by considering how the futures past announced by the book have fared after an eventful quarter century. In this fourth group of contributions, Thomas Clément Mercier shows how Derrida’s book, besides questioning reception and influence, yet remains to be read, especially in light of ongoing archival research on Derrida’s engagements with Marx’s writings in seminars from the 1970s; and Paulo Chamon offers a critical assessment of Derrida’s promise of a ‘New International’ by considering how the book spooks itself in such a way as to raise serious questions in regard to sovereignty and subjectivity.

Alkaloid Synthesis: Mearsine (Taylor), Cephalotaxine (Li), Cocaine (Shing), Quinine (Hatakeyama), Cleavamine (Bennasar), Strychnine(Vanderwal)

2013 ◽  
Author(s):  
Douglass F. Taber
Keyword(s):  
Hong Kong ◽  
Malonic Acid ◽  
Selective Hydrogenation ◽  
Aqueous Ammonia ◽  
Conjugate Addition ◽  
University Of California ◽  
The Past ◽  
Chinese University ◽  
Alkaloid Synthesis ◽  
The University

Richard J. K. Taylor of the University of York employed (Tetrahedron Lett. 2011, 52, 2024) the Jørgensen protocol to add 2 to 1, to give the enantiomerically enriched cyclohexenone 3. Condensation of 3 with aqueous ammonia led directly to (-)-mearsine 4. Wei-Dong Z. Li of Nankai University found (Org. Lett. 2011, 13, 3538) that the intermediate from Dibal reduction of the lactone 5 underwent Nazarov cyclization, giving the α-hydroxy cyclopentenone 6. After acetylation, deprotection gave an amine that cyclized with high diastereocontrol, leading to (±)-cephalotaxine 7. Tony K. M. Shing of the Chinese University of Hong Kong cyclized (Org. Lett. 2011, 13, 2916) the aldehyde 8 by exposure to 9. The product 10 was carried on to (-)-cocaine 11, as well as several hydroxylated cocaine derivatives. Susumi Hatakeyama of Nagasaki University found (Tetrahedron Lett. 2011, 52, 923) that exposure of the simple prochiral aldehyde 12 to catalytic proline transformed it, after reduction, into the cyclized diol 13 in high ee. The diol 13 was readily carried on to quinine 14. M.-Lluïsa Bennasar of the University of Barcelona devised (Org. Lett. 2011, 13, 2042) Pd-catalyzed conditions for the cyclization of 15 that selectively delivered the unstable kinetic product 18. Selective hydrogenation of the more reactive bridgehead alkene then led to cleavamine 17. The alkene 16 is also prochiral, so it is possible that a catalyst could be found that would deliver 17 in high ee. The synthesis of the heptacyclic alkaloid strychnine 23 would, in the past, have been a major undertaking. Christopher D. Vanderwal of the University of California, Irvine, prepared (Chem. Sci. 2011, 2, 649) 23 in just six linear steps. The dienyl aldehyde 18 was available in two steps from tryptophyl bromide. Exposure to t -BuOK cyclized 18 to 19. N-deallylation followed by alkylation with 20 provided 21, setting the stage for a truly spectacular Brook rearrangement/conjugate addition, to give the Wieland-Gumlich aldehyde 22. The known condensation with malonic acid completed the preparation of 23.

Of California

2012 ◽  
Vol 2 (3) ◽  
pp. 99-107
Author(s):  
Catherine M. Cole
Keyword(s):  
Free Speech ◽  
The State ◽  
University Of California ◽  
Chief Justice ◽  
Clark Kerr ◽  
The Future ◽  
The University ◽  
Ansel Adams

"Californians, this is the time for us to do our utmost for the University because it has done its utmost for us,” said Chief Justice Earl Warren at the April 1967 convocation at Berkeley. And what a time it was—on the heels of the Free Speech Movement in 1964, the Vietnam Day marches in 1965, an escalation of anti-war protests in 1966, and, in January of 1967, the dramatic firing of UC President Clark Kerr by Governor Ronald Regan at a meeting of the Board Regents. The following year the University of California would celebrate its hundredth year, and to celebrate this, the UC hired photographer Ansel Adams to take thousands of images of the rapidly expanding UC system. Adams was charged to take photographs of the future. What might these images from futures past tell us about the future for both this university and the state to which it belongs?

Ibsen Our Contemporary

2014 ◽  
Vol 30 (3) ◽  
pp. 243-248
Author(s):  
Richard Hornby
Keyword(s):  
Social Problem ◽  
University Of California ◽  
Keynote Address ◽  
Emeritus Professor ◽  
Avant Garde ◽  
The Past ◽  
Theatre Company ◽  
The University ◽  
The Grotesque

In this article Richard Hornby argues that Ibsen's plays are badly performed today, or not performed at all, because of directors' refusal to take them with appropriate seriousness. The tendency is to stage the plays' reputation as simplistic social problem plays rather than as the complex, challenging, bizarre dramas that Ibsen actually wrote. In particular, directors avoid the grotesque elements that are the true ‘quintessence of Ibsenism’, and that are often remarkably similar in style to that of avant-garde playwrights today. Richard Hornby is Emeritus Professor of Theatre at the University of California, Riverside. For the past twenty-eight years he has been theatre critic for The Hudson Review, and is author of six books and over two hundred published articles on various aspects of theatre. This essay was delivered as the keynote address at the fourteenth annual Ibsen Festival of the Commonweal Theatre Company, Lanesboro, Minnesota, in April 2011.

scholarly journals Very Complex Matter: Collaborations in Art and Geobiology

Artnodes ◽  
2017 ◽  
pp. 67-75
Author(s):  
Meredith Tromble
Keyword(s):  
Early Life ◽  
Scientific Practice ◽  
University Of California ◽  
The Past ◽  
Physical Theater ◽  
The University ◽  
Complex Matter

Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.

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