Abstract

In this essay, I argue that several of Derrida’s central motifs—from supplementarity to différance—can best be understood today in the light of the radical rethinking of time offered by psychoanalysis and, especially, by photography. It is as if, I will argue, the fundamental notions of deconstruction “itself” could come to light only in a time that was not contemporaneous with itself through the supplement of psychoanalysis and the technical inventions of photography. In other words, it took time for it all suddenly to click.

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