_H. C. for Life, That Is to Say..._ is Derrida's literary critical recollection of his lifelong friendship with Hélène Cixous. The main figure that informs Derrida's reading here is that of "taking sides." While Hélène Cixous in her life and work takes the side of life, "for life," Derrida admits always feeling drawn to the side of death. Rather than being an obvious choice, taking the side of life is an act of (...) faith, by wagering one's life on life. _H. C. for Life_ sets up and explores this interminable "argument" between Derrida and Cixous as to what death has in store deep within life itself, before the end. In addition to being a memoir, it is also a theoretical confrontation—for example about the meaning of "might" and "omnipotence," and a philosophical and philological analysis of the crypts within the vast oeuvre of Hélène Cixous. Finally, the book is Derrida's tribute to the thought of the woman whom he regards as one of the great French poets, writers, and thinkers of our time. (shrink)

"I used to feel guilty at night. I live in, I always used to live in two countries, the diurnal one and the continuous very tempestuous nocturnal one.... What a delight to head off with high hopes to night's court, without any knowledge of what may happen! Where shall I be taken tonight! Into which country? Into which country of countries?"--Hélène Cixous, from _Dream I Tell You_ For years, Hélène Cixous has been writing down fragments of her dreams (...) immediately after awaking. In _Dream I Tell You_, she collects fifty from the past ten years. Cixous's accounts of her dreamscapes resist standard psychoanalytic interpretations and reflect her lyrical, affecting, and deeply personal style. The dreams, reproduced in what Cixous calls both their "brute and innocent state," are infused with Cixous's humor, wit, and sense of playfulness. Dreams have always been a crucial part of Cixous's writing. They are her archives and it is with them that she writes. Without dreaming, Cixous writes, "I would crumble to dust." As in many of her other texts, Cixous's mother, father, daughter, and friends populate this work, which offers artistic and provocative meditations on the themes of family, death, and resurrection. Scenes of a daily life-getting a haircut, caring for her child, preparing for work-become beautifully and evocatively skewed in Cixous's dreams. She also writes of dreams, both amusing and unsettling, in which she spends an evening with Martin Heidegger, has her lunch quietly interrupted by a young lion, flees the Nazis, and tours Auschwitz. The "you" of the title is fellow philosopher and friend Jacques Derrida, to whom these texts are addressed. The book reflects on many of the subjects the two grappled with in their work and in conversation: the deconstruction of psychoanalysis, literary production, subjectivity, sexual difference, and the question of friendship. (shrink)

H. C. for Life, That Is to Say... is Derrida's literary critical recollection of his lifelong friendship with Hélène Cixous. The main figure that informs Derrida's reading here is that of "taking sides." While Hélène Cixous in her life and work takes the side of life, "for life," Derrida admits always feeling drawn to the side of death. Rather than being an obvious choice, taking the side of life is an act of (...) faith, by wagering one's life on life. H. C. for Life sets up and explores this interminable "argument" between Derrida and Cixous as to what death has in store deep within life itself, before the end. In addition to being a memoir, it is also a theoretical confrontation—for example about the meaning of "might" and "omnipotence," and a philosophical and philological analysis of the crypts within the vast oeuvre of Hélène Cixous. Finally, the book is Derrida's tribute to the thought of the woman whom he regards as one of the great French poets, writers, and thinkers of our time. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. (...) They both grew up as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging"--not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions--such as man/woman, or Jew/non-Jew--and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being (or not being) Jewish. (shrink)

A compelling work of autobiographical fiction, Hélène Cixous's Hemlock weaves tragedy and comedy, narrative and meditation in its exploration of various human attachments: between an elderly but still truculent mother and her writer-daughter, between the mother and her sister, and between the writer and her vanished but nonetheless intensely present friend, Jacques Derrida, whose death is movingly evoked. "I have in mind two lovely faces, old women in bloom," writes the author with a backwards nod to Proust's (...) ‘jeunes filles.' "Here," she says in her preface, "the criss-crossing paths of my mother and my aunt will come to an end at last. When one old flower is left, what becomes of the other face?" Socrates is conjured up, along with the poisonous plants of Hamlet, the human comedies of Balzac and Proust, and other literary and philosophical ghosts who find themselves drawn into the fabric of Cixous's text: "I'm not sleeping," writes the protagonist. "A worm is drilling my brain. It's a phrase I heard in the hellish juice of the jusquiame. I pour it into my own ear. ‘I'm afraid Mama will die'." In this new work Hélène Cixous continues to explore and expand the boundaries of narrative, slipping from thought to thought and from image to image, so as to render every action, fear and thought palpable to the reader. (shrink)

If we consider the role of psychoanalysis in Hélène Cixous's and Jacques Derrida's writing, we must assume that both differ considerably. Derrida's work, from its beginning, includes several essays on psychoanalysis. Cixous, faithful to her conception of writing as philosophical fiction, prefers to present the father of psychoanalysis, Sigmund Freud, as a character in many texts, above all in her famous Portrait of Dora, but also in others like OR, Les lettres de mon père. I have chosen this (...) book by Cixous for my analysis, since, in my view, OR proposes a performative way of thinking about ‘life death’ which Derrida conceptualizes in several of his books. (shrink)

By offering us a voice that is both at a distance and inside one's own head, the telephone causes interference in thinking and writing. But despite the multiple telephones that echo in and across Jacques Derrida's work, and specifically his writing to and with Hélène Cixous, it is only since Derrida's death that critical interest in the phone has fully emerged, with work by Royle (2006), Prenowitz (2008), Bennington (2013) and Turner (2014) stressing the value of staying (...) on the line. Engaging with Derrida, however, is not simply a matter of picking up the receiver. For the telephone is also, Derrida insists in H.C. for Life (2006), a ‘poetico-technical invention’, that is, the telephone is ‘thought itself’. This paper is about how the telephone ‘thinks’ Derrida, about how it remembers Derrida, and about how it offers us a line for re-imagining his voice. Bound up with the uncanny mechanisms of the telephone, it invites readers to participate in long-distance calling – listening across species, texts and worlds. (shrink)

This book combines loosely "autobiographical" texts by two of the most influential French intellectuals of our time. "Savoir," by Hélène Cixous is an account of her experience of recovered sight after a lifetime of severe myopia; Jacques Derrida's "A Silkworm of One's Own" muses on a host of motifs, including his varied responses to "Savoir.".

Hélène Cixous is arguably the most insightful and unbridled reader of Jacques Derrida today. In _Insister,_ she brings a unique mixture of scholarly erudition, theoretical speculation, and breathtaking textual explication to an extremely close reading of Derrida's work. At the same time, _Insister_ is an extraordinarily poetic meditation, a work of literature and of mourning for Jacques Derrida the person, who was a close friend and accomplice of Cixous's from the beginning of their careers. In a melodic (...) stream-of-consciousness Cixous speaks to Derrida, to his memory and to the words he left behind. She delves into the philosophical spaces that separated them, filling them out to create new understandings, bringing Derrida's words back to life while insisting on our inability to ever truly communicate through words. "More than once we say the same words," Cixous writes, "but we do not live them in the same tone." _Insister of Jacques Derrida_ joins _Veils,_ the two loosely autobiographical texts of Derrida and Cixous published together by Stanford in 2001. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. (...) They both grew up as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging" -- not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions -- such as man/woman, or Jew/non-Jew -- and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish. (shrink)

In Insister, Hlne Cixous brings a unique mixture of theoretical speculation, breath-taking textual explication and scholarly erudition to an extremely close reading of Derrida's work, always attentive to the details of his thinking. At the same time, Insister is an extraordinarily poetic meditation, a work of literature and of mourning for Jacques Derrida the person, who was a close friend and accomplice of Cixous's from the beginning of their careers.

In this 2004 interview — translated into English and published in its entirety for the first time — Jacques Derrida reflects upon his practices of writing and teaching, about the community of his readers, and explores questions related to corporeity and textuality, sexual difference, desire, politics, Marxism, violence, truth, interpretation, and translation. In the course of the interview, Derrida discusses the work of Martin Heidegger, Hans-Georg Gadamer, Maurice Blanchot, Hélène Cixous, Jean Genet, Paul Celan, and many others.

_Hyperdream_ is a major new novel by celebrated French author Hélène Cixous. It is a literary tour de force, returning anew to challenge necessity itself, the most implacable of human certainties: you die in the end – and that’s the end. For you, for me. But what if? What if death did not inevitably spell the end of life? _Hyperdream_ invests this fragile, tentative suspension of disbelief with the sheer force of its poetic audacity, inventing a sort (...) of magic telephone: a wireless lifeline against all the odds to the dearly departed. It is a book about time, age, love and the greatest loss. A book which turns on death: on the question or the moment of death, depending on it, expecting it, living off it, taking place at once before and after, but at the same time turning against it, contesting it, outwriting it hopefully, desperately, performatively, as an interruptible interruption. _Hyperdream_ is a book of mourning, but also of morning, a tragedy-with-comedy and a universal family romance in which it transpires that the narrator is the veritable offspring of a “treasure of literature” in the form of a bed, purchased by her mother from a certain W. Benjamin in 1934, slept on for 40 years by her brother and dreamt of by her friend “J.D.”. (shrink)

"I used to feel guilty at night. I live in, I always used to live in two countries, the diurnal one and the continuous very tempestuous nocturnal one.... What a delight to head off with high hopes to night's court, without any knowledge of what may happen! Where shall I be taken tonight! Into which country? Into which country of countries?" -- Hélène Cixous, from _Dream I Tell You_ For years, Hélène Cixous has been writing down fragments of (...) her dreams immediately after awaking. In _Dream I Tell You_, she collects fifty from the past ten years. Cixous's accounts of her dreamscapes resist standard psychoanalytic interpretations and reflect her lyrical, affecting, and deeply personal style. The dreams, reproduced in what Cixous calls both their "brute and innocent state," are infused with Cixous's humor, wit, and sense of playfulness. Dreams have always been a crucial part of Cixous's writing. They are her archives and it is with them that she writes. Without dreaming, Cixous writes, "I would crumble to dust." As in many of her other texts, Cixous's mother, father, daughter, and friends populate this work, which offers artistic and provocative meditations on the themes of family, death, and resurrection. Scenes of a daily life-getting a haircut, caring for her child, preparing for work-become beautifully and evocatively skewed in Cixous's dreams. She also writes of dreams, both amusing and unsettling, in which she spends an evening with Martin Heidegger, has her lunch quietly interrupted by a young lion, flees the Nazis, and tours Auschwitz. The "you" of the title is fellow philosopher and friend Jacques Derrida, to whom these texts are addressed. The book reflects on many of the subjects the two grappled with in their work and in conversation: the deconstruction of psychoanalysis, literary production, subjectivity, sexual difference, and the question of friendship. (shrink)

"I get up every day with one day more," says Eve, the writer's 97-year-old mother. She is escaping into the New Life and the writer must race to catch up. As things slip away and fall into oblivion, as her mother's world and thus her own relentlessly shrinks, the writer is stunned to see for the first time the vestiges of a prison scene in her beloved Tower of Montaigne, which she has been visiting for fifty years. It represents (...) the story of Cimon and Pero, a daughter's act of charity that saved her father from certain death. How extraordinary that it should only now appear to this other daughter who dreams of nothing less for her parent and thus for herself. A different prison scene draws the writer to reflect on Freud's remark "that the dream of a prisoner can have nothing other than escape as content," a comment he illustrates with Moritz von Schwind's painting _The Prisoner's Dream_. But it is Freud's own dreams of escape from the prison of declining powers in his old age that the writer channels through her telepathic connection to the one she calls her "nuncle." She knows that the worst, worse even than the effects of the disease eating through his body, would have been the obliteration of his dreams upon waking, a sensation of theft that is "like a rug one pulls from beneath the head's feet, bam, bam! like a tapestry of life folded up in a flash." And yet life's tapestry has never seemed more richly colored, more elaborately woven, more abundantly endowed with the gifts of Eve, the mother, the midwife, the irrepressible story-teller, the great escape artist, and the indomitable heroine of this book. (shrink)

One of Jacques Derrida’s richest and most provocative works, Life Death challenges and deconstructs one of the most deeply rooted dichotomies of Western thought: life and death. Here Derrida rethinks the traditional philosophical understanding of the relationship between life and death, undertaking multidisciplinary analyses of a range of topics, including philosophy, linguistics, and the life sciences. In seeking to understand the relationship between life and death, he engages in close readings (...) of Freudian psychoanalysis, the philosophy of Nietzsche and Heidegger, French geneticist François Jacob, and epistemologist Georges Canguilhem. Derrida gave his “Life Death” seminar over fourteen sessions between 1975 and 1976 at the École normale supérieure in Paris as part of the preparation for students studying for the agrégation, a notoriously competitive qualifying exam. The theme for the exam that year was “Life and Death,” but Derrida made a critical modification to the title by dropping the coordinating conjunction. The resulting title of Life Death poses a philosophical question about the close relationship between life and death. Derrida argues that death must be considered neither as the opposite of life nor as the truth or fulfillment of it, but rather as that which both limits life and makes it possible. Through these captivating sessions, Derrida thus not only questions traditional understandings of the relationship between life and death, but also ultimately develops a new way of thinking about what he calls “life death.”. (shrink)

Jacques Derrida argues that the feminist and intellectual Hélène Cixous is the most important writer working within the French idiom today. To prove this, he elucidates the epistemological and historical interconnectedness of four terms: genesis, genealogy, genre, and genius, and how they pertain to or are implicated in Cixous's work. Derrida explores Cixous's genius (a masculine term in French, he is quick to point out) and the inspiration that guides and informs her writing. He marvels at her skillful (...) working within multiple genres. He focuses on a number of her works, including her extraordinary novel _Manhattan_ and her lyrical and evocative _Dream I Tell You_, a book addressed to Derrida himself and one in which Cixous presents a series of her dreams. Derrida also delves into the nature of the literary archive, the production of literature, and the importance of the poetic and sexual difference to the entirety of his own work. For forty years, Derrida had a close personal and intellectual relationship with Hélène Cixous. Clever, playful, and eloquent, _Geneses, Genealogies, Genres, and Genius_ charts the influence these two critical giants had on each other and is the most vital work to address Cixous's contribution to French thought. (shrink)

"In this newest installment in Chicagos series of Jacques Derridas seminars, the renowned philosopher attempts one of his most ambitious goals: the first truly philosophical argument against the death penalty. While much has been written against the death penalty, Derrida contends that Western philosophy is massively, if not always overtly, complicit with a logic in which a sovereign state has the right to take a life. Haunted by this notion, he turns to the key places where (...) such logic has been established - and to the place it has been most effectively challenged: literature. With his signature genius and patient yet dazzling readings of an impressive breadth of texts, Derrida examines everything from the Bible to Plato to Camus to Jean Genet, with special attention to Kant and postWorld War II juridical texts, to draw the landscape of death penalty discourses. Keeping clearly in view the death rows and execution chambers of the United States, he shows how arguments surrounding cruel and unusual punishment depend on what he calls an 'anesthesial logic, ' which has also driven the development of death penalty technology from the French guillotine to lethal injection. Confronting a demand for philosophical rigor, he pursues provocative analyses of the shortcomings of abolitionist discourse. Above all, he argues that the death penalty and its attendant technologies are products of a desire to put an end to one of the most fundamental qualities of our finite existence: the radical uncertainty of when we will die. Arriving at a critical juncture in history - especially in the United States, one of the last Christian-inspired democracies to resist abolition - The Death Penalty is both a timely response to an important ethical debate and a timeless addition to Derridas esteemed body of work"--Unedited summary from book jacket. (shrink)

In this newest installment in Chicago’s series of Jacques Derrida’s seminars, the renowned philosopher attempts one of his most ambitious goals: the first truly philosophical argument against the death penalty. While much has been written against the death penalty, Derrida contends that Western philosophy is massively, if not always overtly, complicit with a logic in which a sovereign state has the right to take a life. Haunted by this notion, he turns to the key places where (...) such logic has been established—and to the place it has been most effectively challenged: literature. With his signature genius and patient yet dazzling readings of an impressive breadth of texts, Derrida examines everything from the Bible to Plato to Camus to Jean Genet, with special attention to Kant and post–World War II juridical texts, to draw the landscape of death penalty discourses. Keeping clearly in view the death rows and execution chambers of the United States, he shows how arguments surrounding cruel and unusual punishment depend on what he calls an “anesthesial logic,” which has also driven the development of death penalty technology from the French guillotine to lethal injection. Confronting a demand for philosophical rigor, he pursues provocative analyses of the shortcomings of abolitionist discourse. Above all, he argues that the death penalty and its attendant technologies are products of a desire to put an end to one of the most fundamental qualities of our finite existence: the radical uncertainty of when we will die. Arriving at a critical juncture in history—especially in the United States, one of the last Christian-inspired democracies to resist abolition—The Death Penalty is both a timely response to an important ethical debate and a timeless addition to Derrida’s esteemed body of work. (shrink)

This biography of Jacques Derrida tells the story of a Jewish boy from Algiers, excluded from school at the age of twelve, who went on to become the most widely translated French philosopher in the world – a vulnerable, tormented man who, throughout his life, continued to see himself as unwelcome in the French university system. We are plunged into the different worlds in which Derrida lived and worked: pre-independence Algeria, the microcosm of the École Normale Supérieure, the (...) cluster of structuralist thinkers, and the turbulent events of 1968 and after. We meet the remarkable series of leading writers and philosophers with whom Derrida struck up a friendship: Louis Althusser, Emmanuel Levinas, Jean Genet, and Hélène Cixous, among others. We also witness an equally long series of often brutal polemics fought over crucial issues with thinkers such as Michel Foucault, Jacques Lacan, John R. Searle, and Jürgen Habermas, as well as several controversies that went far beyond academia, the best known of which concerned Heidegger and Paul de Man. We follow a series of courageous political commitments in support of Nelson Mandela, illegal immigrants, and gay marriage. And we watch as a concept – deconstruction – takes wing and exerts an extraordinary influence way beyond the philosophical world, on literary studies, architecture, law, theology, feminism, queer theory, and postcolonial studies. In writing this compelling and authoritative biography, Benoît Peeters talked to over a hundred individuals who knew and worked with Derrida. He is also the first person to make use of the huge personal archive built up by Derrida throughout his life and of his extensive correspondence. Peeters’ book gives us a new and deeper understanding of the man who will perhaps be seen as the major philosopher of the second half of the twentieth century. (shrink)

La vie la mort est l'un des séminaires les plus féconds de Jacques Derrida. En jeu : penser la vie et la mort en vertu d'une logique qui ne poserait pas la mort comme l'opposé de la vie. La pureté de la vie n'est-elle pas, par essence, contaminée par la possibilité même de la mort, puisque seul un vivant peut mourir? interroge d'emblée le philosophe. En renversant la perspective classique, Derrida entreprend d'enseigner à ses étudiants que c'est la mort, (...) au contraire, qui rend la vie possible. En quatorze séances érudites et palpitantes délivrées au cours de l'année 1975-1976, Derrida déconstruit l'opposition traditionnelle entre la vie et la mort à travers des lectures multiples et délibérément pluridisciplinaires, élaborant sa pensée aussi bien au contact de la philosophie (Hegel, Nietzsche, Heidegger) et de l'épistémologie des sciences (Georges Canguilhem) que dans la confrontation à la génétique contemporaine (François Jacob) et à la psychanalyse (catégories freudiennes de pulsions de vie et de mort)."--Page 4 of cover. (shrink)

At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida's life and work.The book begins with a sort of ...

Towards biodeconstruction -- Between life and death: différance -- The absolute programme -- The text and the living -- Between life and death: the bond -- Beyond life death: autoimmunity -- Living on: the arche-performative.

This interview with Hélène Cixous took place in her apartment in Paris on March 14, 2019. The interview was conducted in English and subsequently revised for publication. The discussion focuses on Cixous' involvement in the Prisons Information Group in the early 1970's, but it extends to her writing life and activism both before and since.

It is tempting, in remembering Jacques Derrida=s death on October 8, 2004, in Paris, to focus on the controversy surrounding the obituaries already written. Derrida was, after all, the theorist of text, and responding to the proliferation of texts at this moment seems almost too enticing to pass up. I can almost hear a playful reversal in the making, a deflection and deferral of both the critical and the fawning accounts of his life. And yet, I can (...) also hear disappointment. He was the one, after all, who spoke against speaking too soon after a death, particularly the death of a friend, in case the academic impulse turned mourning into analysis: What I thought impossible, indecent, and unjustifiable, what long ago and more or less secretly and resolutely I had promised myself never to do (out of a concern for rigor or fidelity, if you will, and because it is in this case too serious) was to write following the death, not after, not long after the death by returning to it, but just following the death, upon or on the occasion of the death, at the commemorative gatherings and tributes, in the writings Ain memory@ of those who while living would have been my friends, still present enough to me that some Adeclaration,@ indeed some analysis or Astudy,@ would seem at that moment completely unbearable.i That many of those friends, and enemies, have spoken, is inevitable and understandable.ii More texts about Derrida=s life, influence, and death are inevitable, especially for a philosopher who was so preoccupied with death in his later years. But even though I never knew him, it seems a bit odd writing about him at this time, in this place. It is as if his death can be used to make points, even if those points are only to establish his relevance within Africana philosophy. (shrink)

In the article, I examine Hélène Cixous's play La Ville parjure ou le Réveil des Erinyes as a political contribution to the debate over memory and justice. The focus is on the question of how the telling of a story of atrocities may be therapeutic to both the victim and to society. I stress Cixous's alternative way of addressing justice: through forgiveness instead of criminal prosecution or other forms of retribution or reconciliation. Referring to Jacques Derrida's work, the (...) main argument revolves around the question of whether forgiveness for unspeakable crimes should be unconditional or conditional. Instead of seeing Cixous's play as an unequivocal stance on restorative justice in general, and on conditional forgiveness in particular, I stress that the main protagonist, the Mother, is not willing to forgive the crime itself because of its unforgivable nature. (shrink)

An analysis of Derrida’s early work engaging Plato, Hegel, and the life sciences. Germs of Death explores the idea of genesis, or dissemination, in the early work of Jacques Derrida. Looking at Derrida’s published and unpublished work from “Force and Signification” in 1963 to Glas in 1974, Mauro Senatore traces the development of Derrida’s understanding of genesis both linguistically and biologically, and argues that this topic is an overlooked thread that draws together Derrida’s readings of Plato and (...) Hegel. Demonstrating how Derrida’s analysis liberates the understanding of genesis from Platonic and Hegelian presupposition, Senatore also highlights Derrida’s engagement with the biological thought of his day. Senatore also shows that the implications of Derrida’s insights extend into contemporary ethical and political questions relating to postgenomic conceptions of life. “Senatore here demonstrates with stunning insight, clarity, and economy that Derrida’s work of the 1960s and ’70s needs to be understood as a radical critique or deconstruction of both the philosophical concept of life (from Plato to Hegel) and the prevailing biological model of heredity as a ‘genetic program.’ It will be impossible henceforth to read Derrida on questions of the trace, dissemination, life, and so on, without coming to terms with ‘the germs of death.’” — Michael Naas, author of The End of the World and Other Teachable Moments: Jacques Derrida’s Final Seminar “The book represents a major contribution to the field of Derrida studies and phenomenology, particularly its attention to the concept of genesis that formed the basis of Derrida’s earliest study of Husserl and the origin of his concept of writing. The unique contribution is the inclusion of the works from the periods of the mid-1970s, which have been neglected in the mainstream scholarship on Derrida.” — Gregg Lambert, author of Philosophy after Friendship: Deleuze’s Conceptual Personae. (shrink)

Philosophies of Difference engages with the concept of difference in relation to a number of fundamental philosophical and political problems. Insisting on the inseparability of ontology, ethics and politics, the essays and interview in this volume offer original and timely approaches to thinking nature, sexuate difference, racism, and decoloniality. The collection draws on a range of sources, including Latin American Indigenous ontologies and philosophers such as Henri Bergson, Jacques Derrida, Luce Irigaray, Immanuel Kant, Maurice Merleau-Ponty, Charles Mills, and Eduardo (...) Viveiros de Castro. -/- The contributors think embodiment and life by bringing continental philosophy into generative dialogue with fields including plant studies, animal studies, decoloniality, feminist theory, philosophy of race, and law. Affirming the importance of interdisciplinarity, Philosophies of Difference contributes to a creative and critical intervention into established norms, limits, and categories. Invoking a conception of difference as both constitutive and generative, this collection offers new and important insights into how a rethinking of difference may ground new and more ethical modes of being and being-with. Philosophies of Difference unearths the constructive possibilities of difference for an ethics of relationality, and for elaborating non-anthropocentric sociality. -/- The chapters in this book were originally published in a special issue in Australian Feminist Law Journal. (shrink)

_Counterpath_ is a collaborative work by Catherine Malabou and Jacques Derrida that answers to the gamble inherent in the idea of "travelling with" the philosopher of deconstruction. Malabou's readerly text of quotations and commentary demonstrates how Derrida's work, while appearing to be anything but a travelogue, is nevertheless replete with references to geographical and topographical locations, and functions as a kind of counter-Odyssey through meaning, theorizing, and thematizing notions of arrival, drifting, derivation, and catastrophe. In fact, by going straight (...) to the heart of the Derridean idea of "spacing," she finally makes it seem as though Derrida has never written about anything but travel. Malabou's text is punctuated by a series of postcards received by Derrida from destinations such as Istanbul and Porto, Laguna Beach and Athens, which are inspired by his reading of her evolving discussion. Writing in a familiar and unguarded manner, as if he were "on vacation" from his own writing, Derrida still remains totally faithful to that work and invites the reader to reflect on much of what haunts his texts as well as his daily life, questions of distance and death, the relation to the other, and exile. (shrink)

Counterpath is a collaborative work by Catherine Malabou and Jacques Derrida that answers to the gamble inherent in the idea of “travelling with” the philosopher of deconstruction. Malabou's readerly text of quotations and commentary demonstrates how Derrida's work, while appearing to be anything but a travelogue, is nevertheless replete with references to geographical and topographical locations, and functions as a kind of counter-Odyssey through meaning, theorizing, and thematizing notions of arrival, drifting, derivation, and catastrophe. In fact, by going straight (...) to the heart of the Derridean idea of “spacing,” she finally makes it seem as though Derrida has never written about anything but travel. Malabou's text is punctuated by a series of postcards received by Derrida from destinations such as Istanbul and Porto, Laguna Beach and Athens, which are inspired by his reading of her evolving discussion. Writing in a familiar and unguarded manner, as if he were “on vacation” from his own writing, Derrida still remains totally faithful to that work and invites the reader to reflect on much of what haunts his texts as well as his daily life, questions of distance and death, the relation to the other, and exile. (shrink)

This paper discusses Jacques Derrida's Death Penalty Seminars (two consecutive seminars he gave at the École des hautes études en sciences sociales in 1999–2000 and 2000–2001), as well as his 2000 Paris address to the States General of Psychoanalysis entitled “Psychoanalysis Searches the States of Its Soul.” The paper is magnetized by two questions: what does it mean to say, as Derrida says in his provocative statement at the end of his 1999 seminar, “even when the death (...) penalty will have been abolished . . . it will survive, there will still be some death penalty [même quand la peine de mort sera abolie . . . elle survivra, il y en aura encore]”? And why is psychoanalysis in a privileged position to address “this irreducible thing in the life of the animate being” that is the possibility of cruelty? (shrink)

The book is based on the proceedings of the conference on 'Philosophy, Language and the Political - Reevaluating Poststructuralism' held at Jawaharlal Nehru University, New Delhi, on the 10th, 11th and 12th December 2014. Several scholars from India and abroad participated in it. The book comprises 17 papers that were presented at the event, besides three additional papers, plus a Preface by Marc Crepon, as well as a description of the conference and a thematic introduction, both by Franson Manjali. -/- (...) The contributiors discuss diverse aspects of the poststructuralist and related philosophical ideas and practices, in the works of Jacques Derrida, Michael Foucault, Gilles Deleuze, Helene Cixous, Jurgen Habermas, Jean-Luc Nancy, Georgio Agambed, Maurice Blanchot, Emmanuel Levinas, Martin Heideggar, Jean-Paul Sartre, Friedrich Nietzche, Baruch Spinoza, and several other philosophers. The questions of language, literature, culture, art, the political, feminism, self and the other death, theology, violence, shame, the animal, psychoanalysis, Marxism, etc, receive scholarly attention of the contributors. (shrink)

Jacques Derrida has died recently. He leaves us his work and it lets us with a name that it is more than his work. Derrida names, as any name does, somebody. This text tries to show that the own name of Derrida, now somebody beyond life, is also another impossibility of the ontology and anot.

"This is one of the few books on Montaigne that fuses analytical skill with humane awareness of why Montaigne matters."—Harold Bloom, Sterling Professor of Humanities, Yale University "In this exhilarating and learned book on Montaigne's essays, Lawrence D. Kritzman _contemporizes_ the great writer. Reading him from today's deconstructive America, Kritzman discovers Montaigne always already deep into a dialogue with Jacques Derrida and psychoanalysis. One cannot but admire this fabulous act of translation."—Hélène Cixous "Throughout his career, Lawrence D. Kritzman (...) has demonstrated an intimate knowledge of Montaigne's essays and an engagement with French philosophy and critical theory. _The Fabulous Imagination_ sheds precious new light on one of the founders of modern individualism and on his crucial quest for self-knowledge."—Jean Starobinski, professor emeritus of French literature, University of Geneva Michel de Montaigne's (1533-1592) _Essais_ was a profound study of human subjectivity. More than three hundred years before the advent of psychoanalysis, Montaigne embarked on a remarkable quest to see and imagine the self from a variety of vantages. Through the questions How shall I live? How can I know myself? he explored the significance of monsters, nightmares, and traumatic memories; the fear of impotence; the fragility of gender; and the act of anticipating and coping with death. In this book, Lawrence D. Kritzman traces Montaigne's development of the Western concept of the self. For Montaigne, imagination lies at the core of an internal universe that influences both the body and the mind. Imagination is essential to human experience. Although Montaigne recognized that the imagination can confuse the individual, "the fabulous imagination" can be curative, enabling the mind's "I" to sustain itself in the face of hardship. Kritzman begins with Montaigne's study of the fragility of gender and its relationship to the peripatetic movement of a fabulous imagination. He then follows with the essayist's examination of the act of mourning and the power of the imagination to overcome the fear of death. Kritzman concludes with Montaigne's views on philosophy, experience, and the connection between self-portraiture, ethics, and oblivion. His reading demonstrates that the mind's I, as Montaigne envisioned it, sees by imagining that which is not visible, thus offering an alternative to the logical positivism of our age. (shrink)

RESUMEN Se examina la noción de espectro para evidenciar la problematización que hace J. Derrida a la oposición entre vida y muerte. Se evidencia que la traza desde diversos textos que dan cuenta de un constante asedio que ronda su pensamiento: la sobrevida. A su vez, se analiza la discusión que sostuvo con el espectro de K. Marx para evidenciar: 1) de qué modo la herencia fiel-infiel de Marx contribuye al pensamiento de la sobrevida; 2) cómo en tal pensamiento de (...) la sobrevida se inscribe necesariamente el problema de la justicia y la alteridad. ABSTRACT The paper examines the notion of specter in order to evince J. Derrida's critical examination of the opposition between life and death. It shows how Derrida develops this idea in diverse texts that account for an obsession that permeates his thought: survival. The article also ana-lyzes Derrida's discussion with the specter of K. Marx in order to evince: 1) how the faithful-unfaithful legacy of Marx contributes to thinking survival; 2) how the issues of justice and alterity are necessarily inscribed in that thinking of survival. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Centre-pieceSarah Wood (bio)πoν σoν θαvατɛ τo κɛντρoν πoν σoν αδη τo νıκoςO death where is thy sting? O grave where is thy victory?- St. Paul, 1st Letter to the Corinthians… on dit en anglais, self-centred. En vérité je rêve depuis toujours d’écrire un texte self-centred, je n’y suis jamais arrive, je tombe toujours sur les autres, cela finira par se savoir.- Jacques Derrida, ‘Mes chances’The word exists, (...) therefore the feeling exists.- Hélène Cixous, Three Steps on the Ladder of Writing.What makes a centre is something sharp: a goad, the point of a needle or the sting of an insect. A spur, peg, rivet or pin. One becomes aware of the possibility of a point, a douleur vive, a lively pain. For the word ‘centre’ is derived from the Greek for ‘sting.’Kentron can mean pain itself. The sting refers to an external cause of pain and to the pain as it is experienced, so it is not one but two; not two but one. And a kentron, even if it is pain and pains you or me, is not itself a perception. It arrives but it’s not given: we have to read and write towards it. For perception, as Derrida clarified in the discussion after giving ‘Structure, Sign and Play’: ‘is precisely a concept, a concept of an intuition or of a given originating from the thing itself, present itself in its meaning, independently from language as a system of reference’(Macksey and Donato 272). Sometimes, in torment, and perhaps still looking for origin and presence, I go to the dictionary.But words have no centre. The dictionary tells me this. Figuratively a kentron is an incentive, a metaphorical goad. However there is no mention of kentron in the etymology of ‘incentive,’ which comes, according to the OED, from canere, to sing. An incentive is what makes you sing. A beautiful mistake, one suspects. But let’s make no mistake, our word kentron is the enchanted and enchanting and chance vibration of a tuning-fork in the nerves that is silence and song. It hits me-and-the-dictionary like lightning because it is part of poetry. What I am saying is: a centre has a particular relation to the part of us that is capable of feeling a desire to die. Hélène Cixous is very precise about this wish: ‘The desire to die is the desire to know; it is not the desire to disappear, and it is not suicide, it is the desire to enjoy’ (Cixous, Three Steps 34). It makes us two, she says. It follows from this, I think, that we have to be two to want to be part of the events that ensue when a poem strikes, to want to know silence from the inside. This kentron, this centre, doubles us up like a stitch.How is it possible to know and enjoy what is not? To expand on this question I can point you to two later texts by Derrida: ‘“Che cos’è la poesia?”,’ and Archive Fever. The former gives an account of poetry as ‘a stranger to all production, especially creation,’ and the latter discusses the Freudian death drive, which is ‘an aggression and a destruction’ of a particularly thorough kind (Derrida, ‘Che’ 233 / 232; Archive Fever 11). A poem enjoins its reader: ‘destroy me [détruis-moi], or rather render my support invisible to the outside, in the world … in any case do what must be done so that the provenance of the mark remains from now on unlocatable or unrecognizable.’ It will be as if the thing Freud calls the death drive had come along, working in silence ‘to destroy [détruire] the archive: on the condition of effacing, but also with a view to effacing its own “proper traces.”‘ (Derrida, Archive Fever 10 / Mal d’archive 24.) Destruction without ruin, without trace, unreadable, completely missing but not without love: what Derrida calls poematic experience entails the forbidden knowing and enjoyment of what never happens as a kind of phenomenal allure that never was, but is all the more taken to heart, loved... (shrink)

Derrida’s recently published Life Death seminars have again highlighted the importance of values within the ongoing philosophical conversation about overcoming metaphysics. The seminars further indirectly raise a matter of great importance for constitutional theory. Values have become central to constitutional discourse since the mid-twentieth century despite critique due to their supposedly subjective nature, the potential conflict between them, and the legal uncertainty that they bring about. This essay enquires into the origin, logic, structure, and operation of (constitutional) values. (...) It does so through a close reading of the texts of Heidegger and Derrida in which Nietzsche’s call for a revaluation of values takes on a central role, along with a reflection on the relation between life and Being, as well as between life and death. A close reading of these texts in turn makes possible an unorthodox reading of Schmitt’s newly translated text on constitutional values in The Tyranny of Values, which finally opens the possibility of a move beyond such values and thus beyond metaphysics. (shrink)

A missed phone call. A misheard word. An inaudible noise. All these can make the difference between life and death. Failures to listen are frequently at the root of the marginalization and exclusion of certain forms of life. Audibility decides livability. Shattering Biopolitics elaborates for the first time the intimate and complex relation between life and sound in recent European philosophy, as well as the political stakes of this entanglement. Nowhere is aurality more pivotal than in (...) the dialogue between biopolitical theory and deconstruction about the power over and of life. Closer inspection of these debates reveals that the main points of contention coalesce around figures of sound and listening: inarticulate voices, meaningless sounds, resonant echoes, syncopated rhythms, animal cries, bells, and telephone rings. Shattering Biopolitics stages a series of "over-hearings" between Jacques Derrida and Giorgio Agamben who often mishear or completely miss hearing in trying to hear too much. Notions of power and life are further diffracted as Hélène Cixous, Catherine Malabou, and Jean-Luc Nancy join in this high-stakes game of telephone. This self-destructive character of aurality is akin to the chanciness and risk of death that makes life all the more alive for its incalculability. Punctuating the book are a series of excurses on sound-art projects that interrogate aurality's subordination and resistance to biopower from racialized chokeholds and anti-migrant forensic voice analysis to politicized speech acts and activist practices of listening. Shattering Biopolitics advances the burgeoning field of sound studies with a new, theoretically sophisticated analysis of the political imbrications of its object of inquiry. Above all, it is sound's capacity to shatter sovereignty, as if it were a glass made to vibrate at its natural frequency, that allows it to amplify and disseminate a power of life that refuses to be mastered. (shrink)

In the field of life science there is a growing awareness of the metaphorical tenor of many of its key concepts and the problems that arise from them, as in the now-controversial case of the genetic ‘program’. In the seminar Life Death (2019) Derrida addresses this question from Georges Canguilhem’s difficulties in establishing a clear distinction between metaphor and concept, precisely with regard to the notion of ‘program’, concluding that this difficulty ‘demand[s] a recasting of this division (...) and of the law of this division’ between metaphor and concept. Beginning with these pages from Life Death, the present essay aims to reconstruct the deconstruction of this opposition and its epistemological consequences by going back to the Derridean essay ‘White Mythology’ (1971), to which Derrida refers in the seminar and in which the question of metaphor in the life sciences had been addressed in a critical confrontation with Bachelard and Canguilhem. (shrink)

This article concerns the Portrait of Jacques Derrida, drawn by Hélène Cixous in 2001. The pages I choose to focus on are nine extracts of Derrida's footnoted additions to an essay by Geoffrey Bennington, either annotated or highlighted, sometimes both, in Cixous's hand in red, blue or black pen. The central point I develop is that Cixous's close relation to Derrida is not so much to an intimate friend whose skin could be touched, as to Derrida qua writing (...) being, Derrida as corpus. I argue that intimacy operates by loosening Derrida's tongue, entering into his tongue in order to get to his heart by means of a hand-performed ‘ritual’, which I call the ritual of ‘sur-lining’. (shrink)

Because the pandemic has kept the world busy in the last two years, a revival of Derrida's writings on biology is an urgent prerequisite today. The tsunamic invasion of the Coronavirus or Covid-19 pandemic took more than two million lives and thousands are still being tested positive as I write. The speed of the virus and the seeming human inability to stop its spread necessitates a study on the relationship between Covid-19 and Derrida's deconstructive philosophy. Hence the portmanteau Coviderrida – (...) inspired by Hélène Cixous’ ‘ derridevilishly’ – attempts to demonstrate how the pathogen operates as an event or possibility to which Derrida's neologisms ‘différance’, ‘supplement’, ‘trace’, ‘archi-writing’, and ‘text’ testify. The main concern of this paper is to restore the deconstructive logic that Derrida advocates to restructure the relationship between life and death in his 1975-6 seminar La vie la mort, and reshape our notion of human survival in his 2001 interview with Giovanna Borradori, ‘Autoimmunity’. These two texts redefine the political and religious questions, which are ‘left hanging, uncertain, still in movement and therefore, yet “to come”’. (shrink)

This article explores the connection among woman, sex, and finitude. In stuying finitude, the argument follows the articulation of finitude with woman. In a first part, it discusses three “women” writers—Virginia Woolf, Simone De Beauvoir, and Hélène Cixous—to establish their thoughts on woman in terms of finitude. The three of them are identified as women and yet they problematized what to be a woman is. In tracing their thoughts on finitude and woman, sexual difference –the body as enjoying emerges (...) as an issue. Thus, in a second part, it discusses two seemingly opposed positions—Lacanian psychoanalysis, with Joan Copjec, and deconstruction, with Derrida—to think further about the question of woman, sexual difference, the “two,” and finitude. This study compares the Lacanian feminine side with the movement of deconstruction and establishes the necessity of thinking a “two” beyond the binary of phallogocentrism. My thesis is that thinking finitude with woman leads us to a non-oppositional two that correlates with sexual difference. The Lacanian feminine side, and Derrida’s deconstruction aim to think these two logics, delineating two sides: a male one (comparable with phallogocentrism) and a feminine side (comparable with the movement of deconstruction). If the male side considers finitude (death) as the limit of life, the feminine side opens to death and life, and the in-finitude of the undetermined and undecidable. In thinking finitude with woman, the knowledge of what to be a woman is, becomes undetermined and undecidable. (shrink)

Hélène Cixous is more than an influential theorist. She is also a groundbreaking author and playwright. Combining an idiosyncratic mix of autobiographical and fictional narrative with a host of philosophical and poetic observations, Cixous's writing matches the kaleidoscopic nature of her thought, offering new ways of conceptualizing sex, relationships, identity, and the self, among other topics. Yet, as Jacques Derrida once observed, a "profound misunderstanding" hangs over the accomplishments of Cixous, with many believing the intellectual excelled only at (...) theoretical exploration. Providing a truly liberal selection of her writings from throughout her career, Marta Segarra rediscovers Cixous's acts of invention for a new generation to enjoy. Divided into thematic concerns, these works fully capture Cixous's genius for merging fiction, theory, and the experience of living. They discuss dreaming in the feminine, Algeria and Germany, love and the other, the animal, Derrida, and the theater. They defy classification, locking literature, philosophy, and psychoanalysis into thrilling new patterns of engagement. Whether readers are familiar with Cixous or are approaching her thought for the first time, all will find fresh perspectives on gender, fiction, drama, philosophy, religion, and the postcolonial. (shrink)

"Instead of suicide, [Hélène Cixous] began to dream of writing a tomb for herself. This tomb became a work that is a testament to Cixous's life and spirit and a secret book, the first book she ever authored"--Jacket.

This ‘fabulous’ essay sketches a hauntological bond of debts between Shakespeare and Derrida as a complex intertextual scene of translation across languages and literatures (but also philosophy and psychoanalysis), times and cultures. Starting from Derrida's essay ‘What is a “Relevant” Translation?’, Cixous explores via numerous voices, cloaks and masks (Celan, Joyce, Genet, Blanchot, Marx, Freud, Poe, Socrates but also Cixous's own father Georges, etc.) the spectral ‘visor effect’ of texts and languages concealing one another, or burrowing secretly underground like moles, (...) in Derrida's Hamlet-like passion for the Bard. (shrink)