Jacques Derrida, Alan Bass (transl)Biblio.com
872 résultats
20061154905Routledge 2006. Hardcover. Near fine. Excellent condition seemingly unread. Binding is tight. Small scratch on bottom edge of text block but pages themselves are clean and unmarked. Routledge hardcover
A9780415255370Hardback. New. In the 1960s a radical concept emerged from the great French thinker Jacques Derrida. Read the book that changed the way we think; read Writing and Difference the classic introduction. hardcover
63870930Taylor & Francis Group pp. 472 2nd Edition . Hardback. New. Taylor & Francis Group hardcover
7414643-nnew. unknown
6942677Stanford University Press pp. 328 . Papeback. New. Stanford University Press unknown
61793946Stanford University Press pp. 240 . Hardback. New. Stanford University Press hardcover
1986G0803228716I5N00Univ of Nebraska Pr 1986. Hardcover. Acceptable. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Univ of Nebraska Pr hardcover
1999180245Baltimore Maryland: The Johns Hopkins University Press 1999. Trade Paperback. Near Fine. A clean unmarked book with a tight binding. Slight wear to cover. 176 pages. Apocalyptic Tone Eternal Peace Voice of Reason John Leavey Late Kant Essays Kantian Critique Critique Pure Reason Deconstruction Peter Fenves End of Philosophy Tonality Language German Idealism Keywords: Apocalyptic Tone Eternal Peace Voice of Reason John Leavey Late Kant Essays Kantian Critique Critique Pure Reason Deconstruction Peter Fenves End of Philosophy Tonality Language German Idealism The Johns Hopkins University Press paperback
199708536Prestel. Fine in Fine dust jacket. 1997. Hardcover. 379131727X . 167 pages. Numerous illustrations. With essays by Jacques Derrida Alois M. Muller Bernhard Schneider and Mark C. Taylor. Tight clean and crisp with only a faint hint of rubbing to publisher's acetate dustjacket otherwise As New/As New. No remainder mark. Collectible.; 4to - over 9 3/4" - 12" tall. . Prestel hardcover
2004x-0415287219Routledge 2004. Paperback. New. 1st edition. 240 pages. 9.00x6.00x0.75 inches. Routledge paperback
2004x-0415287200Routledge 2004. Hardcover. New. 1st edition. 240 pages. 9.25x6.25x1.00 inches. Routledge hardcover
2004Q-0415287219Routledge 2004-10-28. Paperback. New. In shrink wrap. Looks like an interesting title! Routledge paperback
198662299s. l.: Par l'auteur 1986. Fine. Par l'auteur s. l. 1986 22 x 22 cm une feuille Large original black-and-white photographic portrait by Marc Trivier. Original gelatin silver print unsigned as is the case with most of Trivier's works. A rare original silver print by the celebrated Belgian photographer one of the most secretive contemporary artists who despite early international success chose to restrict his output in order to preserve the coherence of his work. Marc Trivier does not produce new prints of his earlier portraits; moreover the printing paper he once used is no longer manufactured. The artist « réalise lui-même ses tirages sur papier baryté Ilford consacrant plusieurs jours de travail à chacun avec une concentration particulière pour rendre les blancs par contraste avec des noirs d'une rare densité. Un tirage de Marc Trivier ne ressemble à aucun autre. Lorsqu'il accepte de les exposer il les suspend dans des cadres en inox de sa fabrication laissant libre cours à la vie du papier. » Xavier-Gilles « Marc Trivier et la tragédie de la lumière » in Le Monde Libertaire 2011. This « life of the paper » is part of the work itself just as the various alterations photographs undergo when exposed: « Dans les boites les tirages gondolent mais qu'importe : le photographe affectionne ce genre d'accident. » Claire Guillot « Les face à face sans échappatoire du photographe Marc Trivier » Le Monde 2011. Trivier shows a singular sensitivity to the material dimension of his art. Although photography is by nature a medium of multiples his direct intervention throughout the creative process confers an almost autographic aura on these prints. Photographs of artists the insane trees or slaughterhousesMarc Trivier approaches each of these subjects with a gaze at once precise and intense. « Dans sa cosmogonie chaque chose chaque être végétal animal ou humain mérite le même respect. Car tous sont confrontés à la même loi d'airain : la solitude. » Luc Desbenoit. The beauty that emanates from his images arises from this nakedness. There is neither retouching nor cropping. His work consistently preserves the square format emphasized by the square of the negative left visible on his prints. This frame ensnares the gaze in images where the cosmetic distractions of colour are rejected in favour of incisive black and white. With all artifice removed we are not confronted with staged subjects but with presences heightened by a singular radiant light witness to a lived moment rather than a posed one. It is this light intrinsic to the photographic medium that unites Triviers series: « Les photographies de Marc Trivier écrivent une tragédie de la lumière celle-ci n'accueillant les êtres - hommes arbres ou bêtes - qu'en les brûlant avant disparition. » Xavier-Gilles in Le Monde Libertaire. It is also this light stripped of all artifice that endows his works with the aura that makes them so compelling. This « burning » of the light recalls the reality of an instant the « ça a été » of Barthes La Chambre Claire 1980: « De trente-cinq ans de pratique photographique d'obsessions c'est peut-être ça qui reste : un mode d'enregistrement singulier de la brûlure de la lumière décliné d'une image à l'autre en une succession de propositions qui se ressemblent et pourtant chacune est aussi singulière que la fraction de temps auquel elle renvoie. » Marc Trivier. « La photographie ne dit qu'une chose : « C'était. » On ne fixe que ce qui a été. S'il y a une tragédie elle est là. » Marc Trivier Warhol Foucault Beckett Dubuffet . the greatest writers and artists sat for Trivier. At the same time the artist turned his lens to the margins of society to what men would rather not see. He photographed the mentally ill and slaughterhouses setting them in counterpoint to celebrities. From the late 1980s his work was widely acclaimed earning him the prestigious Young Photographer Award from the International Ce Par l'auteur unknown
198525366Paris: Les Éditions de Minuit 1985. First edition. 99 xxxvi p. ; photographie Marie-Françoise Plissart ; scénario et montage Benoît Peeters et Marie-Françoise Plissart. Suivi d'une lecture de Jacques Derrida. chiefly ill. ; 31 cm. Illus. boards. Fine. Les Éditions de Minuit unknown
6368869Polity Press pp. 176 . Hardback. New. Polity Press hardcover
64308677Stanford University Press pp. 168 . Hardback. New. Stanford University Press hardcover
41240955like new. unknown
41240955-nnew. unknown
61794040Stanford University Press pp. 352 . Papeback. New. Stanford University Press unknown
2005Q-0742534502Rowman & Littlefield Publishers 2005-01-28. Paperback. New. New. In shrink wrap. Looks like an interesting title! Rowman & Littlefield Publishers paperback
1998Q-0804732825Stanford University Press 1998-01-01. Paperback. New. In shrink wrap. Looks like an interesting title! Stanford University Press paperback
27229Graz Passagen 1985. 4° 99 XXXIX S. zahlr. s/w Abb. Broschur. Min. gebrauchsspurig sonst tadell. = Edition Passagen 1. Erotische Fotogeschichte von Plissard Text von Jacques Derrida. 010 Graz, Passagen, 1985 unknown
19771-0801818796The Johns Hopkins University Press 1977. Paperback. New. 448 pages. French language. 8.90x5.90x1.10 inches. The Johns Hopkins University Press paperback
63430665Stanford University Press pp. 176 . Hardback. New. Stanford University Press hardcover
6297888Taylor & Francis Group pp. 112 . Papeback. New. Taylor & Francis Group unknown
