Derrida's "Glas" can be interpreted as a confrontation with Hegel after Levinas. Derrida's position in front of the great shadows of tradition (see "Violence and Mataphysics") becomes in "Glas" an exceeding of the limits, searching for the other as to the logos, for instance in the wound or in writing. Against the archeological 'Totality' of Hegel's system "Glas" does not oppose the eschatological 'Infinity' of a metaphysical alterity, but rather a 'finite infinity' of a transgressive desire. Language, art and literature, much more than the religious dimension, are the 'external' phenomenological transcendence, to which Hegel's system of absolute knowledge is measured. "Glas" is interpreted on the background of Derrida's reading of Levinas, in his Hegelianism/antihegelianism, in his relationship with Husserl and Heidegger, as well as in the perspective of dialectics versus dialogue, difference versus alterity.
Derridas Glas zwischen Hegel und Levinas
BAPTIST, GABRIELLA
2010-01-01
Abstract
Derrida's "Glas" can be interpreted as a confrontation with Hegel after Levinas. Derrida's position in front of the great shadows of tradition (see "Violence and Mataphysics") becomes in "Glas" an exceeding of the limits, searching for the other as to the logos, for instance in the wound or in writing. Against the archeological 'Totality' of Hegel's system "Glas" does not oppose the eschatological 'Infinity' of a metaphysical alterity, but rather a 'finite infinity' of a transgressive desire. Language, art and literature, much more than the religious dimension, are the 'external' phenomenological transcendence, to which Hegel's system of absolute knowledge is measured. "Glas" is interpreted on the background of Derrida's reading of Levinas, in his Hegelianism/antihegelianism, in his relationship with Husserl and Heidegger, as well as in the perspective of dialectics versus dialogue, difference versus alterity.
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