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Unit 32: Post-Structuralism, Deconstruction and Cultural Studies

            history behind them. Derrida opted for deconstruction over the literal translation destruction to  Notes
            suggest precision rather than violence. The term “deconstructionism” is sometimes applied as a
            title for Derrida’s school of thought, but Derrida is more often classified as a post-structuralist.
            Derrida’s work can be reduced to ontological politics.
            In describing deconstruction, Derrida famously observed that “there is nothing outside the text.”
            That is to say, all of the references used to interpret a text are themselves texts, even the “text” of
            reality as a reader knows it. There is no truly objective, non-textual reference from which
            interpretation can begin. Deconstruction, then, can be described as an effort to understand a text
            through its relationships to various contexts.
            According to Rodolphe Gasche, Derrida’s method consisted in demonstrating all the forms and
            varieties of this originary complexity, and their multiple consequences in many fields. His way of
            achieving this was by conducting thorough, careful, sensitive, and yet transformational readings
            of philosophical and literary texts, with an ear to what in those texts runs counter to their apparent
            systematicity (structural unity) or intended sense (authorial genesis). By demonstrating the aporias
            and ellipses of thought, Derrida hoped to show the infinitely subtle ways that this originary
            complexity, which by definition cannot ever be completely known, works its structuring and
            destructuring effects.
            Deconstruction denotes the pursuing the meaning of a text to the point of exposing the supposed
            contradictions and internal oppositions upon which it is founded—supposedly showing that those
            foundations are irreducibly complex, unstable, or impossible. It is an approach that may be deployed
            in philosophy, literary analysis, or other fields. Deconstruction generally tries to demonstrate that
            any text is not a discrete whole but contains several irreconcilable and contradictory meanings;
            that any text therefore has more than one interpretation; that the text itself links these interpretations
            inextricably; that the incompatibility of these interpretations is irreducible; and thus that an
            interpretative reading cannot go beyond a certain point.



              Did u know? Derrida refers to this point as an aporia in the text, and terms deconstructive
                          reading “aporetic.”
            Derrida initially resisted granting to his approach the overarching name “deconstruction,” on the
            grounds that it was a precise technical term that could not be used to characterize his work
            generally. Nevertheless, he eventually accepted that the term had come into common use to refer
            to his textual approach, and Derrida himself increasingly began to use the term in this more
            general way.

            Self Assessment
            Fill in the blanks:
               1. The post-structuralist movement is difficult to summarize, but may be broadly understood
                  as a body of distinct responses to .................... .
               2. The movement is closely related to .................... .
               3. .................... emerged in France during the 1960s as an antinomian movement critiquing
                  structuralism.
               4. The term .................... is sometimes applied as a title for derridas' school of thought but
                  Derrida is more often classified as a post-structuralist.
               5. .................... work can be reduced to ontological politics.


            32.3  Cultural Studies
            Modernist literature is sub-genre of Modernism, a predominantly European movement beginning
            in the early-to-mid-20th century that was characterized by a self-conscious break with traditional
            aesthetic forms. Representing the radical shift in cultural sensibilities surrounding World War I,
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