. This is a tension which drives the film’s narrative, as David moves from a naive belief in the first perspective to a grudging and frustrated acceptance of the second. As Hogue argues, David’s ‘strength is not the image of reality, but the reality of the image’ (Hogue: 1993 , 3), and ultimately David Holzman’s Diary offers a deconstruction of a (documentary) filmmaker’s faith in the purity of any relationship

in Faking it

3 Deconstruction and drugs – all mixed up Nick had a deprecating little laugh that he used for punctuation. Sort of an apology for talking at all in the telepathizing world of the addict … (W. Burroughs, Naked Lunch, p.170) ‘You’re feeling it aren’t you?’ ‘Yeah, I am actually.’ ‘It’s quite impossible to describe, isn’t it?’ ‘Yeah, it is.’ (M. Amis, Dead Babies, p.187) Sometimes ah think that people become junkies because they subconsciously crave a wee bit of silence. (I. Welsh, Trainspotting, p. 7) He couldn’t tell at first but he was dancing like a maniac

in Culture on drugs
Reflections on Menke’s ‘Law and violence’

112 4 Deconstructing the deconstruction of the law: reflections on Menke’s ‘Law and violence’ Alessandro Ferrara Christoph Menke’s essay belongs in the number of those short interventions that often convey a much more penetrating and lasting message than ponderous and monumental volumes. In a single-​ handed move that ambitiously tries to bring two philosophical worlds –​liberalism and deconstructionism –​into dialogue, Menke deconstructs the purportedly violence-​ averting function of the law by elucidating its paradoxical nature, which is overlooked and

in Law and violence

short story in which Eisenheim is an allegory for the deconstruction of representation actually taking place in late nineteenth-century Vienna, and which Millhauser used as material for his own fictional ends. This, of course, is consistent with a reading of Millhauser’s fiction in terms of a ironic debunking of the illusions of mimetic realism, as in Martin Dressler: The Tale of

in Monstrous media/spectral subjects
The case for societal constitutionalism
Editor: Diana Göbel

This volume collects and revises the key essays of Gunther Teubner, one of the world’s leading sociologists of law. Written over the past twenty years, these essays examine the ‘dark side’ of functional differentiation and the prospects of societal constitutionalism as a possible remedy. Teubner’s claim is that critical accounts of law and society require reformulation in the light of the sophisticated diagnoses of late modernity in the writings of Niklas Luhmann, Jacques Derrida and select examples of modernist literature. Autopoiesis, deconstruction and other post-foundational epistemological and political realities compel us to confront the fact that fundamental democratic concepts such as law and justice can no longer be based on theories of stringent argumentation or analytical philosophy. We must now approach law in terms of contingency and self-subversion rather than in terms of logical consistency and rational coherence.

The deconstruction of institutional politics

a bold effort to reaffirm the possibilities of leverage in the context of a disorientation of ‘left’ and ‘right’ within the non-ideological university. Division and the deconstructible walls of the university: Kamuf Peggy Kamuf’s The Division of Literature, Or, The University in Deconstruction approaches the question of the university by way

in Rethinking the university
The mutual paranoia of Jacques Derrida and Niklas Luhmann

and decision theory and to all promises of normative argumentation and discursive rationality, the protagonists of autopoiesis and deconstruction insist that the everyday routines of legal and economic decisions contain a component of madness, irrationality, mystery and even sacredness. The irrational is not to be viewed as a negligible remainder in a process of increasing rationalisation, but as the

in Critical theory and legal autopoiesis
Abstract only

were revealed as simply a convention. Other kinds of structuring became possible once structuring itself was made self-evident. The notion of deconstruction is not exactly a taking apart of structures as it is the awareness that all structures contain within them their contrary, and hence an instability. It was not that the French Nouvelle Vague critics dismantled classicism but that they perceived another system within it, another possibility, hence another cinema. Thus, classicism was not to be denounced, contested or displaced, but appreciated not simply for what

in Film modernism
Abstract only

, it is interesting to see that in his argument there is little difficulty in accommodating torture under a liberal regime. And it is even more striking to see a poststructuralist position – at least that which is represented here by Derrida and Foucault – defending the ethical principles of unconditional human rights much more vigorously than a liberal like Dershowitz. Ironically, it is poststructuralism, with its deconstructive interrogation of the categories of universality, natural rights and normative morality – a deconstruction for which it has been heavily

in Unstable universalities

, and (c) that they coincide with the topographical limits of polity territories. These three deconstructions are congruent with three theoretical developments in anthropology that pose a challenge for our studies of borders. First, a recent vogue in some sections of anthropology in the United Kingdom, inspired especially by actor-network theory (Latour 2005), argues that we should conceive of a ‘flat’ social that includes human and non-human ‘actants’. Here we find a call to trace how things ‘act’ to structure practice, how they ‘afford’ certain forms of engagement

in The political materialities of borders