For Derrida, therefore, photography-and the "totality of experience"--would clearly be governed by the "structure of the mark," the law from which he concludes that "there is no experience consisting of pure presence but only of chains of differential marks" SEC Routledge,; The Mathesis singularis roland barthes is aligned with the death drive, and the signifier, as Lacan observes in the second period of his teaching, "materializes the agency of death.
The absolute singularity of the photograph as event, its having-been-present quality, is, of course, not even up for question in Barthes.
I will take the aforementioned liberty of risking a new word: Nevertheless, scription--whether in signatures or in handwriting more generally--and the recordings of vocal music discussed by Barthes would seem to share, at least to some extent, the temporal paradox evoked by the photograph.
What Antigone aims at, in her burial of Polynices, is his absolute irreducibility, his unicity, outside of any generality or universality: All further references to this text will be cited as "S7" followed by the page numbers. The death drive may be said to involve the emergence of the real in the disintegration of the imaginary--a disintegration that is effected by the agency of the symbolic Samuel Weber and Jeffrey Mehlman Baltimore: Antigone, linesed.
In particular, what exactly is the relationship between the "will-have-been" and the temporal grammar of the "absolute already-there of the not-yet" and the "absolute already-no-more of the yet" which, as Derrida remarks, "no longer belong to time", but describe an "eternal or intemporal circle"?
I stare intensely at the Sovereign Good of childhood, of the mother, of the mother-as-child. It is as if the Photograph always carries its referent with itself Nevertheless, I find the refusal of the logic of the mark as Derrida defines it in this passage to be unconvincing: Not only do I cherish the pleasure of writing my texts by hand, using a typewriter only in the final phase of preparation, but also and above all, I love the traces of graphic activity, wherever they are All further references to this text will be cited as "PC" followed by the page numbers.
What appears to be new thus always seems to extend itself indefinitely into perpetuity, prior to itself. Of course, one exception to this would be the signature that is forged; in the realm of photography, the "trick-photograph" would seem to be the analogous counterpart of the forged signature.
In the defile of the signifier, the subject is determinable only in the future anterior, not as the one who is, but as the one who will have been" DD ; my emphasis.
Routledge, So we admit of an emergence. There is, I think, an obvious similarity between the objects of analysis of both of these writers--the photographic portraiture which is the privileged focus of Barthes and the signature which Derrida discusses as a kind of privileged limit-example.Photographs and Signatures: Absence, Presence, and Temporality in Barthes and Derrida.Download