In the texts of Derrida the game has also a specific role. With such concepts as andetc. the game is a part of the deconstructive activity and it is not less a puzzle as the others. We can suppose the outlines of a game theory by Derrida, but it is impossible to give a definition of that, what is for him a game. In his essay (Derrida 1967) analyses Derrida with the help of the concept of game the concepts of structure and sign, which are for him principal elements of traditional metaphysics. The metaphysical tradition is for Derrida a continous mutation of a centralized structure. It supposed always a notion of the structure, which was always reduced on a neutralizinhg gestus. The centralized structure would be controlled from a center. This center opens but in the same time delimits a space of game. For Derrida, this is a "founded game": "The concept of centered structure is in fact the concept of a freeplay based on a fundamental ground, a freeplay which is constituted upon a fundamental immobility and a reassuring certitude, which is itself beyond the reach of the freeplay. With this certitude anxiety can be mastered, for anxiety is invariably the result of a certain mode of being implicated in the game, of being caught by the game of being as it were from the very beginning at stake in the game." (Derrida, 1989, 231) Derrida questions the centered structure and the certitude, which controlled the concept of metaphysics. He decenters the centered concept of structure and says, this center is only "a function, a sort of nonlocus in which an infinite number of sign-substitutions came into play. This moment was that in which language invaded the universal problematic; that in which, in the absence of a center or origin, everything became discourse ... that is to say, when everything became a system where the central signified, the original or transcendental signified, is never absolutely present outside a system of differences. The absence of the transcendental signified extends the domain and the interplay of signification ." (Derrida, 1989, 232) This game differs from the founded game, which is a sure game for Derrida. This game " And it plays the game without security. For therer is a sure free-play: that which is limited to the pieces." (Derrida, 1989, 242) Derrida investigates the tensed relationship of the game to History and Dasein. In the game-concept of Wittgenstein there are no space for thes two dimensions. Derrida thinks that the game is the rupture of Dasein. The metaphysic wanted to approach Dasein and it wanted to work out the rules of the founded game. But Derrida shows, that this kind of philosophy and theory of game is impossible. The thinking of Derrida is a decentered activity, which articulates in unique The space which would be opened by this game is for Derrida the "scene of writing" and so we can give to the writing and to its "writingness" the name of writing game. There is a possibility here to bring together the language games of Wittgenstein and the writing games of Derrida. The difference is that Wittgenstein thinks from the language and from the scene of language, whereas Derrida writes from the writing and from the scene of writing. Lyotard thinks that the language games of Wittgenstein saved philosophy from the pessimism of the turn of centery intellektual life originated in the deligitimation and in the positivistic tendenties of the Vienna Circle. (Lyotard 1979, 69) I think, with his "writing games" Derrida gave back to the philosophy the pleasure of textwriting and textreading also.
In his desire to escape all philosophical oppositions such as ''inner" versus "outer," Derrida subtly states his position: "language is not merely a sort of writing 'but' a possibility founded on the general possibility of writing." For Derrida, as we shall see, "writing" characterizes both the "inner" and the "outer" word in dynamic interrelationship, which, at points, bears striking similarity with the Indian philosophy of language put forth by Bhartṛhari in his Vākyapadīya.
Philosophy as a kind of writing: an essay ..
Wittgenstein and Derrida are two spurs, of philosophical thinking, who changed the of philosophical discourses. They practice new arts of thinking and writing, which lead to a change of paradigm and of style in philosophy. In the case of late Wittgenstein the change manifests in a critical attitude toward modern logical discourses. The annonced silence () of the transfigures itself through textual dispersions into the styles () of the late Wittgenstein. By Derrida we can discover this paradigm change in his critique of philosophical "logo-phono-ethnocentrism" and even more in his way of writing, wich through its disseminating force overpasses the bar between philosophy and literature.
Jacques Derrida (philosopher): What is Differance? - …
Is it possible to extend the Rortian model of philosophy as a 'kind of writing' to philosophical poetry? Certainly, the idea of writing as 'self-extension' accords with the meandering and interrogative style of the later Stevens. If one accepts philosophy as a self-extending aesthetic practice, one no longer sees the need for a 'first philosophy', a coherentist picture, a view of all possible views. One no longer sees the need, in other words, for conclusion or closure. And on this model, is Stevens's poetry of the 'as if', his unity of poetic fragments, his linguistic ability to keep contradictory possibilities in suspension, a valid form of philosophical expression?
Derrida, in another essay called ..
By reversing the usual speech/writing hierarchical opposition, which has obtained in the West since Socrates and throughout Indian thought, Derrida's ultimate aim is to counter the simple choice of one of the terms over the other -- to escape the system of metaphysical opposition that has dominated much Western and Indian philosophy.