A.P.Polo - Jacques Derrida

LIMITED EDITION of 50

A P POLO

# 416583

A.P.POLO - JACQUES DERRIDA

Name: A.P.Polo - Jacques Derrida by A P Polo Wall Art
Brand: Pictorem
SKU: 416583
Availability: InStock

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LIMITED EDITION of 50

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A.P.Polo - "Jacques Derrida" - Hamburg (Germany). Jacques Derrida, whose real name was Jackie Derrida, was a French philosopher who was born on 15 Ju...[+]

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Keywords:

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Jacques Derrida

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - JACQUES DERRIDA A P POLO Canvas Print

30 days satisfaction guaranteed
Free shipping in USA and Canada

Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

Acrylic Print

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Get a Modern piece of art with this vibrant Acrylic Print.
Fine Art made from a Premium polished, best-in-class, 99.9% optically pure acrylic and the latest Flatbed printing craftmanship.

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30 days satisfaction guaranteed
Free shipping in USA and Canada

Acrylic Print with Floating Frame on the back

Printed to the edge & Ready to hang. With a floating frame on the back and hanging wire

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 15 inches

51 x 38 cm

1/8 - Back Frame Mount

^$264

24 x 18 inches

62 x 46 cm

1/8 - Back Frame Mount

^$336

30 x 23 inches

77 x 59 cm

1/8 - Back Frame Mount

^$479

36 x 27 inches

92 x 69 cm

1/8 - Back Frame Mount

^$634

42 x 32 inches

108 x 82 cm

1/8 - Back Frame Mount

^$839

48 x 36 inches

123 x 92 cm

1/8 - Back Frame Mount

^$1050

55 x 41 inches

141 x 105 cm

1/8 - Back Frame Mount

^$1611

60 x 45 inches

154 x 115 cm

1/8 - Back Frame Mount

^$1856

3/16" Thickness:

20 x 15 inches

51 x 38 cm

3/16 - Back Frame Mount

^$363

24 x 18 inches

62 x 46 cm

3/16 - Back Frame Mount

^$455

30 x 23 inches

77 x 59 cm

3/16 - Back Frame Mount

^$635

36 x 27 inches

92 x 69 cm

3/16 - Back Frame Mount

^$831

42 x 32 inches

108 x 82 cm

3/16 - Back Frame Mount

^$1091

48 x 36 inches

123 x 92 cm

3/16 - Back Frame Mount

^$1359

55 x 41 inches

141 x 105 cm

3/16 - Back Frame Mount

^$1997

60 x 45 inches

154 x 115 cm

3/16 - Back Frame Mount

^$2308

Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 15 inches

51 x 38 cm

1/8 with 4 metal stand off

^$264

24 x 18 inches

62 x 46 cm

1/8 with 4 metal stand off

^$336

30 x 23 inches

77 x 59 cm

1/8 with 4 metal stand off

^$479

36 x 27 inches

92 x 69 cm

1/8 with 4 metal stand off

^$634

42 x 32 inches

108 x 82 cm

1/8 with 4 metal stand off

^$839

48 x 36 inches

123 x 92 cm

1/8 with 6 metal stand off

^$1050

55 x 41 inches

141 x 105 cm

1/8 with 6 metal stand off

^$1611

60 x 45 inches

154 x 115 cm

1/8 with 6 metal stand off

^$1856

3/16" Thickness:

20 x 15 inches

51 x 38 cm

3/16 with 4 metal stand off

^$363

24 x 18 inches

62 x 46 cm

3/16 with 4 metal stand off

^$455

30 x 23 inches

77 x 59 cm

3/16 with 4 metal stand off

^$635

36 x 27 inches

92 x 69 cm

3/16 with 4 metal stand off

^$831

42 x 32 inches

108 x 82 cm

3/16 with 4 metal stand off

^$1091

48 x 36 inches

123 x 92 cm

3/16 with 4 metal stand off

^$1359

55 x 41 inches

141 x 105 cm

3/16 with 6 metal stand off

^$1997

60 x 45 inches

154 x 115 cm

3/16 with 6 metal stand off

^$2308

Brushed Metal Print / Smooth White Metal Print

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
Robust, very light and provides an amazing aluminum lighting effect [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

White Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Jacques Derrida HD Metal print with Floating Frame on Back

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A.P.Polo - Jacques Derrida HD Sublimation Metal print

A.P.Polo - Jacques Derrida HD Sublimation Metal print with Decorating Float Frame (BOX)

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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30 days satisfaction guaranteed
Free shipping in USA and Canada

Sublimation Hi-Gloss White Metal Print with Back frame

Printed to the edge & Ready to hang a floating frame and hanging wire

Sublimation Hi-Gloss White Metal Print with Decorating Floating Moulding (Black)

Inside a decorating frame (Box) - Black Floating Frame

Wood Print

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

Wood Print with Back Frame Mount

Printed to the edge & Ready to hang a floating frame

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Roll Print

We ship worldwide

Mural Print

Easy to Install. Washable & Repositionable Self-Adhesive Vinyl [+]

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To get your mural price, enter your wall measurement:

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Our 10 Color Technology
Our wall murals are produced on printers with Outstanding photographic print quality & durability Extreme image resolution : photographic image quality with the largest color gamut in its class

Easy to Install
Our Wall Mural Print is removable without any damage to your walls. Easy to change or remove. We are using a premium 6 mil auto-adhesive vinyl with a subtile linen-cotton canvas texture.
Change the look and feel of a room without the hassle of traditional wallpaper. Our wall murals print are the perfect solution to easily enhance any residential or commercial space alike!

Repositionable self-adhesive vinyl delivered in strip of 35 to 45 inches of width and slightly overlap for easy installation.
[More info about our Mural prints]

Framed Print

Get this artwork "A.P.Polo - Jacques Derrida " in a framed print.
Fully customizable - at the exact size you want. Select paper type, glass, matte and decorating frame
Start building your custom framed print by selecting one the following moulding:

A.P.Polo - Jacques Derrida Picture Frame Printing

Frame model shown: 832-745

MORE CUSTOM FRAMES

Standard size framed print

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28 x 20"

^$254

28 x 20" Framed Print

Printed Area: 24 x 16"
Total Inside area: 28.00 x 20.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 21.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

34 x 24"

^$339

34 x 24" Framed Print

Printed Area: 30 x 20"
Total Inside area: 34.00 x 24.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 35.25 x 25.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

40 x 28"

^$425

40 x 28" Framed Print

Printed Area: 36 x 24"
Total Inside area: 40.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.63" on each side
Total Physical dimension: 41.63 x 29.63"

Frame model: 800-967
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

SEE ALL STANDARD FRAME OPTIONS

Sublimation High-Gloss Jigsaw Puzzle Print

A.P.Polo - Jacques Derrida A P Polo Puzzle printing

A.P.Polo - Jacques Derrida A P Polo Puzzle

Precisely produced by HD Sublimation Process & Protected by a high-gloss varnish.
Unlike traditional printing — This artwork is produced with by sublimation print. We utilize heat and pressure to transfer images directly into the surface of the Puzzle, bonding your image to the substrate at the molecular level.

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30 days satisfaction guaranteed
Free shipping in USA and Canada

120 pcs 11 x 8 inches Puzzle High Gloss

28 x 20 cm

^$56

315 pcs 17 x 12 inches Puzzle High Gloss

42 x 30 cm

^$67

500 pcs 21 x 15 inches Puzzle High Gloss

54 x 40 cm

^$81

1000 pcs 27 x 17.50 inches Puzzle High Gloss

69 x 45 cm

^$94

1500 pcs 36 x 24 inches Puzzle High Gloss

91 x 61 cm

^$125

Wall Clock

Product details

This artwork is Made with high-quality acrylic Ready to hang.

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Clock mechanism with a Precise quartz movement. Battery included
Available in Square or Round format
Available in 12" 16" 24" sizes

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Digital Download

File resolution: 5440 x 4096 pixels

ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - JACQUES DERRIDA
A.P.Polo - "Jacques Derrida" - Hamburg (Germany). Jacques Derrida, whose real name was Jackie Derrida, was a French philosopher who was born on 15 July 1930 in El Biar (French Algeria) and died on 9 October 2004 in Paris. A professor at the École normale supérieure between 1965 and 1984, then director of studies at the École des hautes études en sciences sociales, he created and developed the school of thought around deconstructionism. Following in Heidegger's footsteps, Derrida challenged phenomenology and traditional metaphysics and introduced a new way of thinking about the human sciences. The starting point for his work is a critique of linguistics and its dominant position in the human sciences. In his work De la grammatologie (1967), Derrida attempted to show that the dominant linguistic model at the time was based on a contradiction: language would consist of oral speech, of which writing would be the transcription. The true language (the original language) would therefore be the oral language. But linguistics relies on written language for the structure of language, so that the origin of written language is living speech, but the origin of living speech is written language. Here, Derrida transposes Edmund Husserl's questioning of origin in The Origin of Geometry (1954) to the field of linguistics, and introduces the notion of 'original supplement', or simply 'supplement'. This contradiction of origin, first posed - at the level of language - between speech and writing, was then to reverberate in all the fields in which Derrida carried out his investigations: towards the structure of a text and the supplement at the origin of this text, such as the language in which it was written, towards the founding principle and the death of an ideology, towards giving death and accepting responsibility for it (euthanasia), towards the opposition between welcome and hostility, towards the political question of the imposition of gender norms. During his career, Derrida published more than 40 books, together with hundreds of essays and public presentations. He had a significant influence on the humanities and social sciences, including philosophy, literature, law, anthropology,[ historiography, applied linguistics, sociolinguistics, psychoanalysis, music, architecture, and political theory. Into the 2000s, his work retained major academic influence throughout the United States, continental Europe, South America and all other countries where continental philosophy has been predominant, particularly in debates around ontology, epistemology (especially concerning social sciences), ethics, aesthetics, hermeneutics, and the philosophy of language. In most of the Anglosphere, where analytic philosophy is dominant, Derrida's influence is most presently felt in literary studies due to his longstanding interest in language and his association with prominent literary critics from his time at Yale. He also influenced architecture (in the form of deconstructivism), music (especially in the musical atmosphere of hauntology), art, and art criticism. Particularly in his later writings, Derrida addressed ethical and political themes in his work. Some critics consider Speech and Phenomena (1967) to be his most important work. Others cite: Of Grammatology (1967) Writing and Difference (1967), and Margins of Philosophy (1972). These writings influenced various activists and political movements. He became a well-known and influential public figure, while his approach to philosophy and the notorious abstruseness of his work made him controversial. Derrida referred to himself as a historian. He questioned assumptions of the Western philosophical tradition and also more broadly Western culture. By questioning the dominant discourses, and trying to modify them, he attempted to democratize the university scene and to politicize it. Derrida called his challenge to the assumptions of Western culture "deconstruction". On some occasions, Derrida referred to deconstruction as a radicalization of a certain spirit of Marxism. With his detailed readings of works from Plato to Rousseau, from Hegel to Heidegger, Derrida frequently argues that Western philosophy has uncritically allowed metaphorical depth models to govern its conception of language and consciousness. He sees these often unacknowledged assumptions as part of a "metaphysics of presence" to which philosophy has bound itself. This "logocentrism", Derrida argues, creates "marked" or hierarchized binary oppositions that have an effect on everything from the conception of speech's relation to writing to the understanding of racial difference. Deconstruction is an attempt to expose and undermine such "metaphysics". Derrida approaches texts as constructed around binary oppositions which all speech has to articulate if it intends to make any sense whatsoever. This approach to text is, in a broad sense, influenced by the semiology of Ferdinand de Saussure. Saussure, considered to be one of the fathers of structuralism, posited that terms get their meaning in reciprocal determination with other terms inside language. Perhaps Derrida's most quoted and famous assertion, which appears in an essay on Rousseau in his book Of Grammatology (1967), is the statement that "there is no out-of-context" (il n'y a pas de hors-texte). Critics of Derrida have been often accused of having mistranslated the phrase in French to suggest he had written "Il n'y a rien en dehors du texte" ("There is nothing outside the text") and of having widely disseminated this translation to make it appear that Derrida is suggesting that nothing exists but words. Derrida once explained that this assertion "which for some has become a sort of slogan, in general so badly understood, of deconstruction ... means nothing else: there is nothing outside context. In this form, which says exactly the same thing, the formula would doubtless have been less shocking." Historically, Derrida's concept of deconstruction is linked to Martin Heidegger's use of the terms "construction" and "destruction" and their methodological entanglement. Further influences can be found in structuralism and, among other things, the theories on the nature and use of signs (semiotics) that emerged from it. Derrida developed deconstruction in connection with his concept of "différance". Deconstruction is about analysing language or texts, or more precisely signs, meaning and significance. These terms themselves are called into question, as is the ontological status of the subject. Dialectical attempts at a system had assumed that opposites and antitheses could always be synthesised. Derrida's deconstruction is sceptical about this, for example insofar as it emphasises that in such a synthesis one of the two preceding opposites is always preferred. Furthermore, a text does not consist of thesis and antithesis, but of a multitude of other perspectives that exist simultaneously and are often in conflict with one another. However, this conflict is not directly recognisable, but can only be revealed by means of deconstructive analyses. Deconstruction fundamentally assumes that the thematisation of certain objects (be it in scientific theory formation, be it in other knowledge systems, forms of representation or genres) simultaneously excludes others. Instead of focusing only on explicitly communicated information, deconstructive analyses therefore also and especially concentrate on those factors that have been excluded. Systematically fundamental to this is a critical bracketing of the relationships of meaning and reference between the elements of a text, for example. This then makes it possible to ask questions such as: which mechanisms of marginalisation and establishment, which strategies of making credible, which hierarchical structures of a structure of signifiers allow the corresponding material structure to be understood as a meaningful carrier of meaning and to be reduced to a certain meaning or "statement intention"? To which conditions of constitution are the corresponding claims to meaning and validity bound? In particular, this can also reveal conflictuality, aggressiveness, hidden contents and intentions. Among other things, the binding to contingent extrinsic factors of meaning generation makes the delimitation of a text as a manageable object problematic. In particular, texts are to be recognised not only in their inner structure, but also in their relation to other texts. This links deconstruction with theories of intertextuality, such as those developed by Mikhail Bakhtin and Julia Kristeva. In addition, deconstruction relates concepts back to their history and modes of establishment. However, it differs from the method of conceptual history in that deconstruction considers an intrinsically stable conceptual meaning to be an uncovered assumption. Derrida himself has spoken out against establishing his philosophy as a literary method and, for example, developing it into a set of rules. He himself, as well as interpreters close to him, like to speak of an attitude of deconstruction instead. Nevertheless, his ideas were taken up within literary and cultural studies, initially primarily in the Anglo-Saxon context, especially within the so-called Yale School, to which Paul de Man belonged, among others. With her work "Gender Trouble" (1990), in which the distinction between sex and gender between biological sex and socio-culturally shaped gender roles is used to criticise the identity category of woman ("... gender as a compulsory, constant repetition of cultural conventions on the body that one has never chosen"), Judith Butler is considered the most important theorist of discourse-analytical deconstructionism. This serves as the theoretical basis for "Doing Gender" and "Gender Studies". Queer theory and Judith Butler's feminist theory are parts of social science theories that deal with identities or identifications and power relations. According to Butler, it is about uncovering existing relationships of domination and power that established "compulsory heterosexuality" and forms of the nuclear family based on women's ability to give birth. The deconceptualisation of the body, bisexuality and heterosexuality as natural facts does not coincide with negation, but serves to expose the consolidation and concealment of authority. In deconstructive cultural theories, the emergence of supposed entities and identities is analysed from a power-critical perspective and political alternatives are also proposed. For example, long before the corruption scandals, international sports organisations were characterised as commercial enterprises from which it was naïve to expect democratic structures. Deconstruction can be applied as a method to texts or philosophical theories, but also as an artistic practice in the visual arts, fashion, music, architecture or film. Architecture in particular has been influenced by the deconstruction approach, giving rise to the style of deconstructivism.

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