9780226390420 - Cultural Graphology: Writing after Derrida de Fleming, Juliet (17 resultados)

Hardcover. Condición: Very Good+. Estado de la sobrecubierta: Very Good+. Text clean and tight; 8.70 X 5.90 X 0.80 inches; 176 pages.

Hardcover. Condición: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Hardcover. Condición: New. Estado de la sobrecubierta: New. Book hardcover pp165. Condition New.

Condición: new.

Condición: New. Num Pages: 176 pages. BIC Classification: CFLA. Category: (P) Professional & Vocational. Dimension: 152 x 264 x 19. Weight in Grams: 348. . 2016. 1st Edition. Hardcover. . . . .

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condición: New.

Hardcover. Condición: Brand New. 176 pages. 9.00x6.00x0.50 inches. In Stock.

Condición: New. pp. 176.

Condición: New. Num Pages: 176 pages. BIC Classification: CFLA. Category: (P) Professional & Vocational. Dimension: 152 x 264 x 19. Weight in Grams: 348. . 2016. 1st Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardback. Condición: New. "Cultural Graphology" could be the name of a new human science: this was Derrida's speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself, but he did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using his early thought and the psychoanalytic texts to which it is addressed to examine the print culture of early modern England, she drastically unsettles our knowledge of the key vehicle of modern writing: the book. Fleming shows that the single most important lesson to survive from Derrida's early work is that we do not know what writing is. Channeling Derrida's thought into places it has not been seen before, she takes on topics such as errors, spaces, and print ornaments that have hitherto been marginal to our accounts of print culture and excavates the long-forgotten reading practice of cutting printed books.Proposing radical deformations to the meanings of fundamental and apparently simple terms such as "error," "letter," "surface," and "cut," Fleming opens up exciting new pathways into our understanding of the book as a material and cultural object.

Hardcover. Condición: new. Hardcover. Cultural Graphology could be the name of a new human science: this was Derridas speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself but did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using both his early and later thought, and the psychoanalytic texts to which it is addressed, to examine the print culture of early modern England, she drastically unsettles some key assumptions of book history. Fleming shows that the single most important lesson to survive from Derridas early work is that we do not know what writing is. Channeling Derridas thought into places it has not been seen before, she examines printed errors, spaces, and ornaments (topics that have hitherto been marginal to our accounts of print culture) and excavates the long-forgotten reading practice of cutting printed books. Proposing radical deformations to the meanings of fundamental and apparently simple terms such as error, letter, surface, and cut, Fleming opens up exciting new pathways into our understanding of writing all told. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condición: new. Hardcover. Cultural Graphology could be the name of a new human science: this was Derridas speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself but did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using both his early and later thought, and the psychoanalytic texts to which it is addressed, to examine the print culture of early modern England, she drastically unsettles some key assumptions of book history. Fleming shows that the single most important lesson to survive from Derridas early work is that we do not know what writing is. Channeling Derridas thought into places it has not been seen before, she examines printed errors, spaces, and ornaments (topics that have hitherto been marginal to our accounts of print culture) and excavates the long-forgotten reading practice of cutting printed books. Proposing radical deformations to the meanings of fundamental and apparently simple terms such as error, letter, surface, and cut, Fleming opens up exciting new pathways into our understanding of writing all told. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardback. Condición: New. "Cultural Graphology" could be the name of a new human science: this was Derrida's speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself, but he did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using his early thought and the psychoanalytic texts to which it is addressed to examine the print culture of early modern England, she drastically unsettles our knowledge of the key vehicle of modern writing: the book. Fleming shows that the single most important lesson to survive from Derrida's early work is that we do not know what writing is. Channeling Derrida's thought into places it has not been seen before, she takes on topics such as errors, spaces, and print ornaments that have hitherto been marginal to our accounts of print culture and excavates the long-forgotten reading practice of cutting printed books.Proposing radical deformations to the meanings of fundamental and apparently simple terms such as "error," "letter," "surface," and "cut," Fleming opens up exciting new pathways into our understanding of the book as a material and cultural object.

Hardcover. Condición: new. Hardcover. Cultural Graphology could be the name of a new human science: this was Derridas speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself but did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using both his early and later thought, and the psychoanalytic texts to which it is addressed, to examine the print culture of early modern England, she drastically unsettles some key assumptions of book history. Fleming shows that the single most important lesson to survive from Derridas early work is that we do not know what writing is. Channeling Derridas thought into places it has not been seen before, she examines printed errors, spaces, and ornaments (topics that have hitherto been marginal to our accounts of print culture) and excavates the long-forgotten reading practice of cutting printed books. Proposing radical deformations to the meanings of fundamental and apparently simple terms such as error, letter, surface, and cut, Fleming opens up exciting new pathways into our understanding of writing all told. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.