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2 Filozofia (Philosophy)

2 2016

2 Fišerová M.

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META-REPREZENTACE. MICHEL FOUCAULT A SÉMANTICKÉ NÁSILÍ STRUKTURALISMU

100%

Fišerová M.

nr 1

14 – 24

The article tries to answer the question: Why the publication of The Order of Things aroused the polemics about M. Foucault’s being a structuralist? Unlike structuralism, Foucault’s archaeology introduces semantic structures into history: he examines the dramatic rearrangement of words and things in history to unveil the historical background of the production of the period-related, transitory, discontinued, relative knowledge. In the author’s view, this method is contradictory in itself as it does not consider its own politics of meaning. While describing the three ways of the epistemic generating of representations Foucault nevertheless ascribes the arbitrary representation of things by words to the only episteme, namely the „classical“ one. It is the later Foucault who reflects on the ethics of meaning, which unveils the production of representation in every politics of meaning, even in its own one, creating thus the meta-representations.

APORIE PODPISU: OPAKOVÁNÍ NEOPAKOVATELNÉHO U DERRIDY A DELEUZE

100%

Fišerová M.

nr 6

450 – 461

The paper questions the possibility of keeping the legal conception of signature as a constant and repeatable style of handwriting. By comparing double Derrida’s and Deleuze’s ontological semiotics, the author observes that while both thinkers agree that no writer is able to reach identity by repeating his/her traces, they disagree on the reason of this claim. In Derrida, signature is just an aporetical request of the law: in order to confirm our civil identity, we are obliged to repeat manually a trace that can’t be repeated manually. In Deleuze, repetition doesn’t produce identity, but difference: in every signing, the writer is becoming a signature. His/her handwriting is every time shaped by a singular affect, which alternates his/her previous traces. Contrary to Derrida, Deleuze admits a consistence of the author’s style, which is a sign of his continuous affective becoming, becoming-a-name, becoming-a-line.