169:. The left column is about Hegel, the right column is about Genet. Each column weaves its way around quotations of all kinds, both from the works discussed and from dictionaries—Derrida's "side notes", described as "marginalia, supplementary comments, lengthy quotations, and dictionary definitions." Sometimes words are cut in half by a quotation which may last several pages. A Dutch commentator, recalling Derrida's observation that he wrote with two hands, the one commenting on the other, noted that the two-column format aims to open a space for what the individual texts excluded, in an auto-deconstructive mode.
242:
involves only the father and the child, for
Derrida author alternates between the father and the mother of the text. In this relationship, the author's signature becomes the guarantor of the text's truth, "it becomes its surrogate parent," according to Jane Marie Todd. The Genet column discusses his autobiographical writings, where one of the issues is Genet's very name—it is not that of his father, but of his mother, who abandoned him shortly after birth. According to Todd, "in the mother who abandons her bastard child, leaving only her name, Derrida finds a figure for the author/text/signature relationship."
303:, commented that "as a piece of writing it has no known genre". In his estimation reading the book is "a scandalously random experience" given the problem of how to read the two printed columns—consecutively or alternately from section to section. Though it is an "exuberantly clever, punning text", it "asks too much of one's patience and intelligence; our defense against a text declaring itself to be unreadable may be to call its author's bluff and simply leave it unread." Sturrock praises the English translation (by
408:
contests that there is always a subject that decides; his point is rather that the decision never took place on the grounds the subject thought it did and that the decision has effects that the subject cannot account for." According to
Lukacher, "The publication of this translation and its brilliantly assembled apparatus will have a lasting and profound impact on philosophical and literary theory in English."
155:
288:
It is clear that his reading of Joyce's text haunts the way in which
Derrida has constructed his exploration of Hegel and Genet by positioning separate and discrete textual columns next to each other so that it is necessary to read intertextually and follow the ways in which the textual play operates
407:
as the "quintessence of the discourse of the 'sixties", though Ned
Lukacher notes that this amounts to "a glib dismissal of Derrida's masterpiece" by restricting its scope and enclosing it as a naive text whose erasure is willed by the writing subject, whereas Lukacher maintains that "Derrida never
374:
look astonishingly similar and argue parallel points. Both books are the product of radical textual montage, using elaborate cut-and-paste strategies that caused problems in getting into print; both were reissued in the 1980s and hailed as influential for an entire generation: "Both were vigorously
241:
is autobiography, and its inquiry traces the very concept of the signature, which in autobiography marks the identity of the author with the narrator of the text. Following Plato, Derrida sees the relation between author and text as one of filiation, but unlike Plato's idea of filiation, which
212:
According to
Gayatri Spivak, the two columns should be seen as architectural elements: "capital, pyramid, pillar, belfry and so on." In between those columns Derrida attempts to find space for himself in the form of marginal notes. This fight for space is reminiscent of an adolescent rebellion
315:
in
English "mocks . . . the notion that translation achieves a semantic identity from one language to another." Sturrock's review was severely criticized in two responses: one writer reprimanded Sturrock for a "dismissive account", another pointed out that what Sturrock refers to as a "random
274:, and its seeming defiance of genre "allows this curious and challenging text a direct contribution to literary theory: in both form and subject matter, it details a new way of viewing genre definitions." Derrida himself described the text as "a sort of a wake," in reference to
29:
189:, argues that the two columns are explicitly phallic symbols, opposing each other in a power struggle that neither can win. Literary theorist Susan Handelman has described the book's structure as being reminiscent of the format of the
220:
This rebellion against his inheritance also evident from the way in which he creates confusion by juxtaposing his initial, "D," to distracting red herrings: "The debris of d-words is scattered all over the pages. Derrida describes
349:
advises that if writing had a privileged empirical form for
Derrida, it would be the computer—yet on the other hand, "hypertexts can just as well be presented as a fulfillment of a metaphysical view of writing".
496:"Style & Culture; REMEMBRANCE; He could drive even O.C. to abstraction; The revolutionary French theorist Jacques Derrida seemed right at home at UC Irvine. A student recalls fondly his bourgeois ways"
1187:
205:, interprets the columns as the legs of a woman, and Derrida's marginal notes as a male member in the act of penetration: "As the father's phallus works in the mother's hymen, between two legs, so
588:
341:
associated it with "the new multi-linear multimedia hypertext that is rapidly becoming the characteristic mode of expression both in culture and in the study of cultural forms". Whereas
686:
In zwei bewusst phallisch aufragenden Drucksäulen stehen
Derridas Lektüren nebeneinander: links auf jeder Seite Hegel, rechts Genet. Ein Kräftemessen, das keiner gewinnen kann
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257:
considered the text's playfulness "exhilarating to many within the discipline ", acknowledging that to others it "may prove a disadvantage". Morris
Dickstein, writing for
175:
described the text as a "literary-philosophical collage." Typography is an important part of the text's presentation and argument; the
English translation was designed by
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1234:
229:)." Spivak notes, "I can read Glas as a fiction of Derrida's proper name turning into a thing, crypting the signature so that it becomes impossible to spell it out."
1122:
329:
has often been cited as evidence that deconstruction might theorize hypertext or that hypertext might instantiate deconstruction. In the early 1990s,
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experience" (of the text's format) is in fact reminiscent of the "sacred texts of Judaism". The English translation was praised by Ned Lukacher in
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137:'s autobiographical writing. "One of Derrida's more inscrutable books," its form and content invite a reflection on the nature of
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misrepresented by acolytes and detractors and unfairly associated with exclusively text-based approaches to contemporary media."
358:
holds that "computer writing instantiates the play that deconstruction raises only as a corrective". Moreover, as scholars like
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In "Criticism in the Wilderness" Mr. Hartman is virtually infatuated with Derrida's "Glas," a wild text even by wild standards.
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458:, by John P. Leavey (University of Nebraska Press, 1986) with an introduction by Gregory L. Ulmer and a preface by Derrida
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451:, trans. John P. Leavey, Jr. & Richard Rand (Lincoln & London: University of Nebraska Press, 1986)
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against a looming father figure, Hegel, and Derrida notes that his own father died while he was writing
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argues that Derrida's writings "already reflect an internalization of the electronic media", and
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Ce qui est resté d'un Rembrandt déchiré en petits carrés bien réguliers, et foutu aux chiottes
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across and between the margins or borders of the page(s) and space(s) separating the columns.
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argues that "deconstruction theorizes writerly practices that anticipate hypertexts",
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should be understood as "digitalized, hypertextual Derrida", and MLA president
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1021:(1994). "Derrida, Dupin, Adami: 'Il faut ĂŞtre plusieurs pour Ă©crire'".
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Donoghue, Denis (9 November 1980). "Reading About Writing; Writing".
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Spivak, Gayatri Chakravorty (1977). "Glas-Piece: A Compte Rendu".
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works at origins, between two columns, between Hegel and Genet."
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Structure, Sign, and Play in the Discourse of the Human Sciences
556:"Autobiography and the Case of the Signature: Reading Derrida's
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The English translation was accompanied by a companion volume,
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as an "almost absolutely singular and exemplary achievement".
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is described as experimental and obscure. Literary theorist
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94:
1986 – University of Nebraska Press (English translation)
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and John P. Leavey Jr.), but notes that a text such as
589:"Objectief informatie overbrengen via de tv kan niet"
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John Sturrock, reviewing the English translation of
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587:Meester, Maarten; Frank Meester (7 February 2009).
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477:(Minneapolis: University of Minnesota Press, 2021)
165:, the book is written in two columns in different
1283:Ethics, Institutions, and the Right to Philosophy
643:"Richard Eckersley, 65, Graphic Designer, Dies"
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237:The specific literary genre problematized in
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793:"How Creative Should Literary Criticism Be?"
419:, each called "Etude pour un dessin d'après
311:by definition cannot be translated and that
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125:) is a 1974 book by the French philosopher
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669:"Jean Genet zum 100.: Die Sonne des Bösen"
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1444:Books about Georg Wilhelm Friedrich Hegel
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161:Following the structure of Jean Genet's
974:Deja Vu: Aberrations of Cultural Memory
822:"Praising Not the Hedgehog but the Fox"
525:"The Book is Dead; Long Live the Book!"
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820:Dickstein, Morris (26 December 2007).
615:Danto, Arthur C. (15 September 1985).
549:
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62:John P. Leavey, Jr. & Richard Rand
791:Hartman, Geoffrey H. (5 April 1981).
702:. Albany, NY: SUNY Pres. p. 47.
225:), writes d (dé-écrit), and cries d (
7:
667:Dotzauer, Gregor (9 December 2010).
523:Sturrock, John (13 September 1987).
183:texts. Gregor Dotzauer, writing for
875:McGinley, John (11 October 1987).
494:Simon, Raphael (24 October 2004).
14:
1181:Cogito and the History of Madness
564:Jacques Derrida: critical thought
199:, in a 1977 article published in
1162:Points...: Interviews, 1974–1994
977:. UP of Minnesota. p. 122.
901:Beyer, Wayne (25 October 1987).
641:Heller, Steven (29 April 2006).
333:declared Derrida's radical book
92:1974 – Galilee (original French)
934:Lukacher, Ned (1987). "Rev. of
233:Autobiography and the signature
1291:The Animal That Therefore I Am
1001:The New York Times Book Review
266:According to Jane Marie Todd,
179:, noted for his renderings of
133:'s philosophical works and of
1:
854:. UP of Florida. p. 44.
851:Reading Derrida reading Joyce
368:Computer Lib / Dream Machines
131:Georg Wilhelm Friedrich Hegel
79:Georg Wilhelm Friedrich Hegel
16:1974 book by Jacques Derrida
566:. Ashgate. pp. 67–86.
562:. In Ian Maclachlan (ed.).
129:. It combines a reading of
1470:
764:"Derrida en cinq concepts"
197:Gayatri Chakravorty Spivak
33:Cover of the first edition
698:Handelman, Susan (1982).
554:Todd, Jane Marie (2004).
391:is heavily influenced by
26:
1454:Works by Jacques Derrida
1439:French non-fiction books
1407:The Reception of Derrida
1054:O’Keeffe, Brian (2021).
442:, (Paris: Galilée, 1974)
415:based three drawings on
284:; Alan Roughley argues,
1351:Metaphysics of presence
848:Roughley, Alan (1999).
1449:Works about Jean Genet
1434:1974 non-fiction books
1382:Gadamer–Derrida debate
1377:Marguerite Aucouturier
1211:Writing and Difference
387:and Morris Dickstein,
291:
158:
1413:Searle–Derrida debate
1219:Margins of Philosophy
1155:The Rhetoric of Drugs
1139:Interview collections
971:Krapp, Peter (2004).
945:Modern Language Notes
617:"Vexation of Tongues"
319:Modern Language Notes
286:
157:
145:Structure and content
1203:Speech and Phenomena
1060:American Book Review
877:"Derrida Dismissed?"
700:The Slayers of Moses
423:" (reprinted in his
121:(also translated as
1324:Template:Hauntology
1251:Right to Philosophy
1024:Yale French Studies
1019:Hubert, Renée Riese
471:Geoffrey Bennington
347:Geoffrey Bennington
49:Original title
23:
1393:Ghost Dance (film)
1259:Acts of Literature
1056:"Transing Derrida"
907:The New York Times
903:"Derrida as Rabbi"
881:The New York Times
797:The New York Times
647:The New York Times
621:The New York Times
529:The New York Times
426:Derriere le miroir
300:The New York Times
159:
1421:
1420:
984:978-0-8166-4334-9
861:978-0-8130-1684-9
772:. 1 November 2004
573:978-0-7546-0806-6
500:Los Angeles Times
465:Jacques Derrida,
447:Jacques Derrida,
438:Jacques Derrida,
246:Critical response
181:deconstructionist
177:Richard Eckersley
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99:Publication place
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1336:Phallogocentrism
1267:Specters of Marx
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186:Der Tagesspiegel
141:and of writing.
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1428:Categories
1319:Hauntology
1314:Différance
729:Diacritics
709:0873955773
482:References
364:Ted Nelson
202:Diacritics
167:type sizes
135:Jean Genet
83:Jean Genet
59:Translator
1356:Free play
1147:Positions
1093:(French,
1072:2153-4578
769:L'Express
469:, trans.
397:Luc Ferry
379:Influence
89:Publisher
1302:Concepts
1190:" (1966)
1183:" (1963)
1157:" (1989)
940:Glassary
456:Glassary
433:Editions
75:Subjects
67:Language
1400:Derrida
1095:MS Word
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776:13 June
680:13 June
652:13 June
626:13 June
600:13 June
534:13 June
505:13 June
227:dé-crit
150:Columns
1294:(2008)
1286:(2002)
1278:(1995)
1270:(1993)
1262:(1991)
1254:(1990)
1246:(1988)
1238:(1980)
1230:(1974)
1222:(1972)
1214:(1967)
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1165:(1995)
1150:(1972)
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223:décrit
191:Talmud
102:France
70:French
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1037:JSTOR
954:JSTOR
746:JSTOR
467:Clang
123:Clang
110:Print
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1227:Glas
1090:Glas
1068:ISSN
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