000 03898nam a22004695i 4500
001 202444
003 IT-RoAPU
005 20230501181844.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 230103t20222011nyu fo d z eng d
020 _a9780823232062
_qprint
020 _a9780823290970
_qPDF
024 7 _a10.1515/9780823290970
_2doi
035 _a(DE-B1597)9780823290970
035 _a(DE-B1597)565943
035 _a(OCoLC)1306539431
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPHI027000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aDerrida, Jacques
_eautore
245 1 0 _aAthens, Still Remains :
_bThe Photographs of Jean-François Bonhomme /
_cJacques Derrida.
264 1 _aNew York, NY :
_bFordham University Press,
_c[2022]
264 4 _c©2011
300 _a1 online resource (88 p.) :
_b34 Illustrations, black and white
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tIllustrations --
_tTranslators’ Note --
_tAthens, still remains --
_tNotes
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aAthens, Still Remains is an extended commentary on a series of photographs of contemporary Athens by the French photographer Jean-François Bonhomme. But in Derrida’s hands commentary always has a way of unfolding or, better, developing in several unexpected and mutually illuminating directions. First published in French and Greek in 1996, Athens, Still Remains is Derrida’s most sustained analysis of the photographic medium in relationship to the history of philosophy and his most personal reflection on that medium. At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida’s life and work. The book begins with a sort of verbal snapshot or aphorism that haunts the entire book: “we owe ourselves to death.” Reading this phrase through Bonhomme’s photographs of both the ruins of ancient Athens and contemporary scenes of a still-living Athens that is also on its way to ruin and death, Derrida interrogates a philosophical tradition that runs from Socrates to Heidegger in which the human—and especially the philosopher—is thought to owe himself to death, to a certain thought of death or comportment with regard to death. Combining philosophical speculations on mourning and death, event and repetition, and time and difference with incisive commentary on Bonhomme’s photographs and a narrative of Derrida’s 1995 trip to Greece, Athens, Still Remains is one of Derrida’s most accessible, personal, and moving works without being, for all that, any less philosophical. As Derrida reminds us, the word photography—an eminently Greek word—means “the writing of light,” and it brings together today into a single frame contemporary questions about the work of art in the age of mechanical reproduction and much older questions about the relationship between light, revelation, and truth—in other words, an entire philosophical tradition that first came to light in the shadow of the Acropolis.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023)
650 7 _aPHILOSOPHY / Movements / Deconstruction.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780823290970
856 4 0 _uhttps://www.degruyter.com/isbn/9780823290970
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780823290970/original
942 _cEB
999 _c202444
_d202444