This article discusses Jacques Rancière's theory of literature as centred on an agonistic concept of literature, where literature is seen as a ‘positive contradiction’. This positive contradiction arises from what Rancière sees as literature's origins in the ‘errant letter’, which is conceived as an intrinsically democratic principle that, for Rancière, also results in the tendency of literature to incarnate the word and to propose an extra-textual truth which would signal the end of literature as democratic errancy. Asking whether it is (...) possible to identify Rancière as ‘taking sides’ in what he sets up as a struggle, the article analyses three examples of Rancière's engagement with literary texts in which he demonstrates the necessity for literature to maintain its constitutive contradiction, resulting in a conception of literature as an agonistic field and as a self-critical mode of writing. (shrink)

This article seeks to interrogate the moment of queer theory's ‘birth’ out of French influences, or what is designated by the umbrella term ‘French Theory’. It specifically points to the operations of transformation and dislocation, subversion and perversion of French theoretical influences at work in two distinctive ‘pairings’ of French ‘progenitor’ and American queer ‘offspring’: Jacques Derrida with Eve Kosofsky Sedgwick and Jacques Lacan with Judith Butler.