Abstract: The subject of this article is photography in the philosophy of Jacques Derrida, which is addressed for the first time in his work in the context of Roland Barthes' book "Camera lucida". In this publication, we have attempted to reconstruct a dialogue between the two eminent French philosophers, focusing on the problem of photography and related concepts and topics. Special attention is given to Jacques Derrida's short text, "The Deaths of Roland Barthes," written shortly after the tragic death of philosopher. In Derrida's view, Roland Barthes' "Camera lucida" is a text about ghosts, which permeate its fabric and logic and form the category of "punctum." Referring to Jacques Derrida's text "The Deaths of Roland Barthes," we used the concept of ghosts to analyze the phenomenon of photography. The concept of the "ghost" is explored in a number of texts by Jacques Derrida, allowing us to reflect on what is not present, has no actual form of existence, but at the same time returns to us with persistent frightening frequency. This is why the concept of the ghost can also be used to analyze the phenomenon of photography. Photography creates a unique "flattened" time, a time loop of sorts, in which the separation between presence and absence that should form it occurs. Photography snatches out a fragment of the present, in which a certain fundamental absence is already imprinted forever, the present, which we can see only because of its absence. Photography confirms reality, but it is not a "living" representation of the past as it is often portrayed. Photography spectrifies its viewer by employing a specific type of perspective, which establishes specific rules of perception, and creates a new type of subjectivity with unique characteristics.

Abstract: Using Jacques Derrida's polylogue "Restitution, From truth to size" as a starting point of analysis, the article examines the problem of truth in painting. Derrida, referring to the famous dispute between Martin Heidegger and Meyer Sсhapiro over Vincent Van Gogh's painting "Shoes", not only reconstructs the details of this correspondence discussion, which stretched for many years, but also makes a sharp criticism of academic discourse, both philosophical and art criticism, equally limited in its total claim to knowledge truth in painting. Derrida comes to the conclusion that despite the external differences and internal opposition, the positions of Heidegger and Sсhapiro are completely in tune. Recreating the main directions of Derrida's analysis, the author reveals the idea of the "restitution of truth" in painting, embedding it in a more general philosophical context of the deconstruction of art. Restitution is inevitably associated with the appropriation and re-attribution of the meanings and images of an artistic work. This is exactly what happened in the "mirror speculation" of Heidegger and Sсhapiro, who sought to appropriate the truth of the "shoes" from Van Gogh's painting. Heidegger puts the shoes "on the ground", gives them to a peasant woman, Shapiro writes about their belonging to the artist Vincent himself, but, in the end, both famous professors only project their own identity onto Van Gogh's painting and force them to tell their truth, while embedding it in the framework of academic discourse.

Abstract: The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical ontological-epistemological aspect of truth in the context of art history. The picture does not limit itself to the representation of an object or the truth attached to it. She crosses the line, overflowing her boundaries. That is why the logic of a work of art is inevitably the logic of a Kantian parergon. In the book "Truth in Painting" Derrida rethinks all aspects of artistic creativity. For Derrida, painting is, first of all, an action and the most correct question is: "What does this painting do?". The picture in the produced action breaks away from the conditions of the image, moves away from the discourse, setting in motion the difference. The structure of a painting work consists not of presence or representation, but of a projection of movement. The painting is silent and remains outside the language, is unrepresentable and heterogeneous, is out of line with any discourse, is irreducible to any text and is not subject to archiving despite all the efforts of museum authorities.

Abstract: The subject of the study is the problem of drawing in the philosophy of Jacques Derrida and, in particular, the so-called "blindness hypothesis", which Derrida expresses in the work "Memoirs of a blind man: self-portrait and other ruins": "drawing ... and the drawing operation must have some relation to blindness." Derrida explores this well—established ontotheological tradition of classical metaphysics: blinding here becomes a necessary sacrificial act, a condition that makes possible the transition from the physical eye to the spiritual, so Derrida describes it as a "sacrificial" economy, which is inevitably followed by an artist, each drawing of which turns out to be a prophecy of a blind man, indicating the horizons of the future.   Explicating Derrida's hypothesis, we turn not only directly to the text of the "Memoirs of a Blind Man" and the documentary narrative film that accompanied it, but also strive to reconstruct the exhibition of the same name held at the Louvre in 1990, which was also curated by Derrida. The comparison of these three layers made it possible to more fully reveal the "blindness hypothesis" and fit it into a more general philosophical context of deconstruction, as well as to rethink the problems of figurative drawing, its mimetic and representative nature. We come to the conclusion that the essence of the drawing has nothing to do with the visible, and its source lies entirely at the level of memory.

Abstract: The subject of this research is the problems of painting, and particularly, drawing in the philosophy of Jacques Derrida. The starting point became the experience of co-creation of Jacques Derrida and the Italian artist Valerio Adami, which reflected in creation of five hundred screen printings, as well as an attempt to comprehend such of an artistic experience and countersignature in Derrida’s article “+R (par dessus le marché)”, released in 1975 as the first publication of the philosopher structured around the problem of drawing. The author attempts to depict how Derrida’s discourse is imposed upon the graphic practices of Adami, forming a mutual attraction of the line and writing. Despite the significance of the theme of art in Jacques Derrida’s philosophy, there is yet not a single work in the Russian language that would address this topic to any extent. The fundamental problem of art of the XX century, in Derrida’s understanding, is not the dilemma of abstract and figurative, but the discursive nature of figure, i.e. its special configuration in form of a written trace.

Abstract: The subject of research is the problem of death in the philosophy of Georges Bataille. The theme of death in Bataille is inextricably linked to the theme of community. It is from this context comes the definition of community as "sovereign" and "sacred". Any community, any movement of cooperative experience is being established around some sacred core that can turn "a category of death into a principle of life, the category of decline – in the principle of an excess of vitality", which corresponds with the ambivalent nature of the sacred: it is both high and low, pure and revolting, the sacred and the cursed. In most cases, in the works of Bataille concepts are not static: rather, they constantly travel along the surface of the text, escaping because of their very dynamic from any ordering, so we do not set ourselves the task of holistic analysis of the topic of death, but sought only to outline the metaphoric of his texts. Attempt to represent the experience of the sovereign community of Georges Bataille by combining the two perspectives: in real (community of Surrealists, "Counter-attack", "Acetal", "College of Sociology") and the ideal community. Bataille shows that the community does not require the integrity, it rather suggests the loss of the “part of your own being”, creating yourself by means of your own death. This is what the philosopher calls "the practice of joy before death".

Abstract: The article considers the mutual relationship between certain provisions and ideas in cartesianism and psychoanalysis. By anayzing various texts of Descartes and Freud, the author shows the influence of cartesianism on the key concepts of psychoanalysis. The article is focused on such categories as 'repression' and 'trace'. The author shows that cartesianism already deals with a completely new definition of temporalization and criticises metaphysics of presence which was further developed by psychoanalysis and deconstruction. The article refers to the structure of Cartesian discourse focusing on the metaphor of the "true path" which serves as the methodological basis and reference point of Descartes' philosophy. The philosophy of Descartes already contains the paradigmal orientation at the rejection of the definition of existence as something present. Long before Freud he showed that the trace is not only a simple investment in the project of presence but it is the structure that makes repression possible. Appealing to the phenomenon of memory in Descartes' philosophy, the author shows that the fundamental disintegration of the Cartesian subject can be already found at this level.