Search results for ""author jacques derrida""

This volume reflects Jacques Derrida's engagement in the late 1970s with French political debates on the teaching of philosophy and the reform of the French university system. He was a founding member of the Research Group on the Teaching of Philosophy (Greph), an activist group that mobilized opposition to the Giscard government's proposals to "rationalize" the French educational system in 1975, and a convener of the Estates General of Philosophy, a vast gathering in 1979 of educators from across France. While addressing specific contemporary political issues on occasion, thus providing insight into the pragmatic deployment of deconstructive analysis, the essays deal mainly with much broader concerns. With his typical rigor and spark, Derrida investigates the genealogy of several central concepts which any debate about teaching and the university must confront. Thus there are essays on the "teaching body," both the faculty corps and the strange interplay in the French (but not only the French) tradition between the mind and body of the professor; on the question of age in teaching, analyzed through a famous letter of Hegel; on the class, the classroom, and the socio-economic concept of class in education; on language, especially so-called "natural languages" like French; and on the legacy of the revolutionary tradition, the Estates General, in the university. The essays are linked by the extraordinary care and precision with which Derrida undertakes a political intervention into, and a philosophical analysis of, the institutionalization of philosophy in the university.

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Is giving possible? Is it possible to give without immediately entering into a circle of exchange that turns the gift into a debt to be returned? This question leads Jacques Derrida to make out an irresolvable paradox at what seems the most fundamental level of the gift's meaning: for the gift to be received as a gift, it must not appear as such, since its mere appearance as gift puts it in the cycle of repayment and debt. Derrida reads the relation of time to gift through a number of texts: Heidegger's Time and Being, Mauss's The Gift, as well as essays by Benveniste and Levi-Strauss that assume Mauss's legacy. It is, however, a short tale by Baudelaire, "Counterfeit Money," that guides Derrida's analyses throughout. At stake in his reading of the tale, to which the second half of this book is devoted, are the conditions of gift and forgiveness as essentially bound up with the movement of dissemination, a concept that Derrida has been working out for many years. For both readers of Baudelaire and students of literary theory, this work will prove indispensable.

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When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With "The Beast and the Sovereign, Volume I", the University of Chicago Press inaugurated an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. This volume, now in paperback, launched the series with Derrida's exploration of the persistent association of animality with sovereignty. "The Beast and The Sovereign" are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. An astonishing array of texts - from La Fontaine's fable "The Wolf and the Lamb" to Machiavelli's "Prince" - come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.

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Geoffrey Bennington sets out here to write a systematic account of the thought of Jacques Derrida. Responding to Bennington's text at every turn is Derrida's own, excerpts from his life and thought that resist circumscription. Together these texts, as a dialogue and a contest, constitute a critical introduction to one of the leading philosophers of the 20th century. Bennington's account of Derrida leads the reader through the philosopher's work on language and writing, and through more mysterious themes of signature, sexual difference, law, and affirmation. Seeking to escape this systematic rendering - in fact, to prove it impossible - Derrida interweaves Bennington's text with surprising and disruptive "periphrases": reflections on his mother's death agony, commentaries on St. Augustine's "Confessions", memories of childhood, remarks on Judaism, and references to his collaborator's efforts.

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When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With "The Beast and the Sovereign, Volume I", the University of Chicago Press inaugurated an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. This volume, now in paperback, launched the series with Derrida's exploration of the persistent association of animality with sovereignty. "The Beast and The Sovereign" are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. An astonishing array of texts - from La Fontaine's fable "The Wolf and the Lamb" to Machiavelli's "Prince" - come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.

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This new book reflects Derrida's latest views on the role of education and international organizations in an era of globalization. In this book, Derrida develops a notion of the global citizen that is uniquely post-Kantian. He looks especially at the changing role of UNESCO and similar organizations at a time when individual and national identities, knowledge and commerce, and human rights all are brought to world attention in new ways than they have been in the past. Following Derrida's writings on these issues, prominent scholars engage in a dialogue with him on his approach to understanding the ethics of international institutions and education today.

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This volume, now with a substantial new Introduction, represents one of the most lucid, compact and reliable introductions to Derrida and deconstruction available in any language. Responding to questions put to him at a roundtable held at Villanova University in 1994, Jacques Derrida leads the reader through an illuminating discussion of the central themes of deconstruction. Speaking in English and extemporaneously, Derrida takes up with unusual clarity and great eloquence such topics as the task of philosophy, the Greeks, justice, responsibility, the gift, community, and the messianic. Derrida refutes the charges of relativism that are often leveled at deconstruction by its critics and sets forth the profoundly affirmative and ethico-political thrust of his work. The roundtable is marked by an unusual clarity that continues into the second part of the book, in which one of Derrida’s most influential readers, John D. Caputo, elaborates upon Derrida’s comments and supplies material for further discussion. This edition also includes a substantial new Introduction by Caputo that discusses the original context of the book and traces the development of deconstruction since Derrida’s death in 2004, from the rise of new materialisms to return to religion. Long one of the most lucid and reliable introductions to Derrida and deconstruction available in any language, and an ideal volume for students, Deconstruction in a Nutshell will also prove illuminating for those already familiar with Derrida’s work.

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Responding to questions put to him at a Roundtable held at Villanova University in 1994, Jacques Derrida leads the reader through an illuminating discussion of the central themes of deconstruction. Speaking in English and extemporaneously, Derrida takes up with unusual clarity and great eloquence such topics as the task of philosophy, the Greeks, justice, responsibility, the gift, the community, the distinction between the messianic and the concrete messianisms, and his interpretation of James Joyce. Derrida convincingly refutes the charges of relativism and nihilism that are often leveled at deconstruction by its critics and sets forth the profoundly affirmative and ethico-political thrust of his work. The “Roundtable” is marked by the unusual clarity of Derrida’s presentation and by the deep respect for the great works of the philosophical and literary tradition with which he characterizes his philosophical work. The Roundtable is annotated by John D. Caputo, the David R. Cook Professor of Philosophy at Villanova University, who has supplied cross references to Derrida’s writings where the reader may find further discussion on these topics. Professor Caputo has also supplied a commentary which elaborates the principal issues raised in the Roundtable. In all, this volume represents one of the most lucid, compact and reliable introductions to Derrida and deconstruction available in any language. An ideal volume for students approaching Derrida for the first time, Deconstruction in a Nutshell will prove instructive and illuminating as well for those already familiar with Derrida’s work.

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In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally.

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Originally published in 1995, Advances was first written by Jacques Derrida as a long foreword to a book by one of his most promising former students, the philosopher Serge Margel’s Le Tombeau du Dieu Artisan (The Tomb of the Craftsman). What Derrida uncovers for us is Margel’s own unique theory of the promise in relation to an an-archic, pre-chronological temporality, in conjunction with Margel’s radical rereading of Plato’s Timaeus. As Derrida states right away, Margel’s reading is a new one, a new reading of the Demiurge. A new promise. A new advance. In this magisterial late essay by Derrida, what the reader soon discovers is in part a conversation with his former student, as well as an opening for a new reflection on our current ecological and political crises that are all the more urgent today where the possibility of giving ourselves death as a human race and the end of the world is now, within an era of climate change, more real than ever.As part of Univocal’s Pharmakon series, this essay, itself published in advance, becomes a brief but powerful light pointing toward Univocal’s forthcoming publication of the translation of Serge Margel’s Le Tombeau du Dieu Artisan. “Once again the Timaeus, of course, but a different Timaeus, a new Demiurge, I promise.”

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Throughout his long career, Jacques Derrida had a close, collaborative relationship with "Critical Inquiry" and its editors. He saved some of his most important essays for the journal, and he relished the ensuing arguments and polemics that stemmed from the responses to his writing that "Critical Inquiry" encouraged. Collecting the best of Derrida's work that was published in the journal between 1980 and 2002, "Signature Derrida" provides a remarkable introduction to the philosopher and the evolution of his thought. These essays define three significant "periods" in Derrida's writing: his early, seemingly revolutionary phase; a middle stage, often autobiographical, that included spirited defense of his work; and his late period, when his persona as a public intellectual was prominent, and he wrote on topics such as animals and religion. The first period is represented by essays like "The Law of Genre," in which Derrida produces a kind of phenomenological narratology. Another essay, "The Linguistic Circle of Geneva," embodies the second, presenting deconstructionism at its best: Derrida shows that what was imagined to be an epistemological break in the study of linguistics was actually a repetition of earlier concepts. The final period of Derrida's writing includes the essays "Of Spirit" and "The Animal That Therefore I Am (More to Follow)" and eulogies for Michel Foucault, Louis Marin, and Emmanuel Levinas, in which Derrida uses the ideas of each thinker to push forward the implications of their theories. Gathering a small but crucial portion of the oeuvre of this singular philosopher, "Signature Derrida" is the most wide-ranging, and thus most representative, anthology of Derrida's work to date.

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Theory and Practice is a series of nine lectures that Jacques Derrida delivered at the École Normale Supérieure in 1976 and 1977. The topic of “theory and practice” was associated above all with Marxist discourse and particularly the influential interpretation of Marx by Louis Althusser. Derrida’s many questions to Althusser and other thinkers aim at unsettling the distinction between thinking and acting. Derrida’s investigations set out from Marx’s “Theses on Feuerbach,” in particular the eleventh thesis, which has often been taken as a mantra for the “end of philosophy,” to be brought about by Marxist practice. Derrida argues, however, that Althusser has no such end in view and that his discourse remains resolutely philosophical, even as it promotes the theory/practice pair as primary values. This seminar also draws fascinating connections between Marxist thought and Heidegger and features Derrida’s signature reconsideration of the dichotomy between doing and thinking. This text, available for the first time in English, shows that Derrida was doing important work on Marx long before Specters of Marx. As with the other volumes in this series, it gives readers an unparalleled glimpse into Derrida’s thinking at its best—spontaneous, unpredictable, and groundbreaking.

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Nietzsche has recently enjoyed much scrutiny from the nouveaux critiques. Jacques Derrida, the leader of that movement, here combines in his strikingly original and incisive fashion questions of sexuality, politics, writing, judgment, procreation, death, and even the weather into a far-reaching analysis of the challenges bequeathed to the modern world by Nietzsche. Spurs, then, is aptly titled, for Derrida's "deconstructions" of Nietzsche's meanings will surely act as spurs to further thought and controversy. This dual-language edition offers the English-speaking reader who has some knowledge of French an opportunity to examine the stylistic virtuosity of Derrida's writing of particular significance for his analysis of "the question of style."

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Few philosophers held greater fascination for Jacques Derrida than Martin Heidegger, and in this book we get an extended look at Derrida's first real encounters with him. Delivered over nine sessions in 1964 and 1965 at the cole Normale Sup rieure, these lectures offer a glimpse of the young Derrida first coming to terms with the German philosopher and his magnum opus, Being and Time. They provide not only crucial insight into the gestation of some of Derrida's primary conceptual concerns--indeed, it is here that he first uses, with some hesitation, the word "deconstruction"--but an analysis of Being and Time that is of extraordinary value to readers of Heidegger or anyone interested in modern philosophy. Derrida performs an almost surgical reading of the notoriously difficult text, marrying pedagogical clarity with patient rigor and acting as a lucid guide through the thickets of Heidegger's prose. At this time in intellectual history, Heidegger was still somewhat unfamiliar to French readers, and Being and Time had only been partially translated into French. Here Derrida mostly uses his own translations, giving his own reading of Heidegger that directly challenges the French existential reception initiated earlier by Sartre. He focuses especially on Heidegger's Destruktion (which Derrida would translate both into "solicitation" and "deconstruction") of the history of ontology, and indeed of ontology as such, concentrating on passages that call for a rethinking of the place of history in the question of being, and developing a radical account of the place of metaphoricity in Heidegger's thinking. This is a rare window onto Derrida's formative years, and in it we can already see the philosopher we've come to recognize--one characterized by a bravura of exegesis and an inventiveness of thought that are particularly and singularly his.

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A new translation of Derrida’s groundbreaking juxtaposition of Hegel and Genet, forcing two incompatible discourses into dialogue with each other Jacques Derrida’s famously challenging book Glas puts the practice of philosophy and the very acts of writing and reading to the test. Formatted with parallel texts, its left column discusses G. W. F. Hegel and its right column engages Jean Genet, with numerous notes and interpolations in the margins. The resulting work, published for the first time in French in 1974, is a collage that practices theoretical thinking as a form of grafting. Presented here in an entirely new translation as Clang—its title resonating like the sound of an alarm or death knell—this book brilliantly juxtaposes Hegel’s totalizing, hierarchical system of thought with Genet’s autobiographical, carceral erotics. It innovatively forces two incompatible discourses into dialogue with each other: philosophical and literary, familial and perverse, logical and sensory. In both content and structure, Clang heightens the significance of all encounters across ruptures of thought or experience and vibrates with the impact of discordant languages colliding.

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“For what tomorrow will be, no one knows,” writes Victor Hugo. This dialogue, proposed to Jacques Derrida by the historian Elisabeth Roudinesco, brings together two longtime friends who share a common history and an intellectual heritage. While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.” Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism (as well as that which marked Derrida’s own history) and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.” These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future.

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Now in paperback, nine lectures from Jacques Derrida that challenge the influential Marxist distinction between thinking and acting.Theory and Practice is a series of nine lectures that Jacques Derrida delivered at the École Normale Supérieure in 1976 and 1977. The topic of “theory and practice” was associated above all with Marxist discourse and particularly the influential interpretation of Marx by Louis Althusser. Derrida’s many questions to Althusser and other thinkers aim at unsettling the distinction between thinking and acting. Derrida’s investigations set out from Marx’s “Theses on Feuerbach,” in particular the eleventh thesis, which has often been taken as a mantra for the “end of philosophy,” to be brought about by Marxist practice. Derrida argues, however, that Althusser has no such end in view and that his discourse remains resolutely philosophical, even as it promotes the theory/practice pair as primary values. This seminar also draws fascinating connections between Marxist thought and Heidegger and features Derrida’s signature reconsideration of the dichotomy between doing and thinking. This text, available for the first time in English, shows that Derrida was doing important work on Marx long before Specters of Marx. As with the other volumes in this series, it gives readers an unparalleled glimpse into Derrida’s thinking at its best—spontaneous, unpredictable, and groundbreaking.

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“For what tomorrow will be, no one knows,” writes Victor Hugo. This dialogue, proposed to Jacques Derrida by the historian Elisabeth Roudinesco, brings together two longtime friends who share a common history and an intellectual heritage. While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.” Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism (as well as that which marked Derrida’s own history) and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.” These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future.

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A significant event in Derrida scholarship, this book marks the first publication of his long-lost philosophical text known only as "Geschlecht III." The third, and arguably the most significant, piece in his four-part Geschlecht series, it fills a gap that has perplexed Derrida scholars. The series centers on Martin Heidegger and the enigmatic German word Geschlecht, which has several meanings pointing to race, sex, and lineage. Throughout the series, Derrida engages with Heidegger's controversial oeuvre to tease out topics of sexual difference, nationalism, race, and humanity. In Geschlecht III, he calls attention to Heidegger's problematic nationalism, his work's political and sexual themes, and his promise of salvation through the coming of the "One Geschlecht," a sentiment that Derrida found concerningly close to the racial ideology of the Nazi party. Amid new revelations about Heidegger's anti-Semitism and the contemporary context of nationalist resurgence, this third piece of the Geschlecht series is timelier and more necessary than ever. Meticulously edited and expertly translated, this volume brings Derrida's mysterious and much awaited text to light.

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The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics. Alexander Gelley, Library Journal

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Across a spectrum of academic disciplines, the topic of globalization is at the forefront of contemporary efforts to understand a dynamically changing world society. How might critical social theory respond creatively to the challenge of thinking and theorizing globalization in its full complexity? Globalizing Critical Theory collects essays by scholars at the forefront of Critical Theory as they confront this timely topic. This book offers readers a chance to see contemporary Critical Theory in its full range—from political analyses of a global public sphere, critical race theory, and the politics of memory, to aesthetics and media studies. It includes crucial new essays by Jürgen on the transformations of the global order in the wake of the American invasion of Iraq, and major interventions by Nancy Fraser, Peter Hohendahl, Andreas Huyssen, James Bohman, and others. Globalizing Critical Theory provides a fascinating exploration of how Critical Theory is confronting the question of globalization—and how globalization is transforming Critical Theory.

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A new translation of Derrida’s groundbreaking juxtaposition of Hegel and Genet, forcing two incompatible discourses into dialogue with each other Jacques Derrida’s famously challenging book Glas puts the practice of philosophy and the very acts of writing and reading to the test. Formatted with parallel texts, its left column discusses G. W. F. Hegel and its right column engages Jean Genet, with numerous notes and interpolations in the margins. The resulting work, published for the first time in French in 1974, is a collage that practices theoretical thinking as a form of grafting. Presented here in an entirely new translation as Clang—its title resonating like the sound of an alarm or death knell—this book brilliantly juxtaposes Hegel’s totalizing, hierarchical system of thought with Genet’s autobiographical, carceral erotics. It innovatively forces two incompatible discourses into dialogue with each other: philosophical and literary, familial and perverse, logical and sensory. In both content and structure, Clang heightens the significance of all encounters across ruptures of thought or experience and vibrates with the impact of discordant languages colliding.

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This volume records a remarkable encounter in critical and philosophical thinking: a meeting of two of the great pioneers in contemporary thought, Maurice Blanchot and Jacques Derrida, who are also bound together by friendship and a complex relation to their own pasts. More than a literary text with critical commentary, it constitutes an event of central significance for contemporary philosophical, literary, and political concerns. The book consists of The Instant of My Death, a powerful short prose piece by Blanchot, and an extended essay by Derrida that reads it in the context of questions of literature and of bearing witness. Blanchot's narrative concerns a moment when a young man is brought before a firing squad during World War II and then suddenly finds himself released from his near death. The incident, written in the third person, is suggestively autobiographical—from the title, several remarks in the text, and a letter Blanchot wrote about a similar incident in his own life—but only insofar as it raises questions for Blanchot about what such an experience might mean. The accident of near death becomes, in the instant the man is released, the accident of a life he no longer possesses. The text raises the question of what it means to write about a (non)experience one cannot claim as one's own, and as such is a text of testimony or witness. Derrida's reading of Blanchot links the problem of testimony to the problem of the secret and to the notion of the instant. It thereby provides the elements of a more expansive reassessment of literature, testimony, and truth. In addressing the complex relation between writing and history, Derrida also implicitly reflects on questions concerning the relation between European intellectuals and World War II.

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These two lectures by Jacques Derrida, "Foreigner Question" and "Step of Hospitality/No Hospitality," derive from a series of seminars on "hospitality" conducted by Derrida in Paris, January 1996. His seminars, in France and in America, have become something of an institution over the years, the place where he presents the ongoing evolution of his thought in a remarkable combination of thoroughly mapped-out positions, sketches of new material, and exchanges with students and interlocutors. As has become a pattern in Derrida's recent work, the form of this presentation is a self-conscious enactment of its content. The book consists of two texts on facing pages. "Invitation" by Anne Dufourmantelle appears on the left (an invitation that of course originates in a response), clarifying and inflecting Derrida's "response" on the right. The interaction between them not only enacts the "hospitality" under discussion, but preserves something of the rhythms of teaching. The volume also characteristically combines careful readings of canonical texts and philosophical topics with attention to the most salient events in the contemporary world, using "hospitality" as a means of rethinking a range of political and ethical situations. "Hospitality" is viewed as a question of what arrives at the borders, in the initial surprise of contact with an other, a stranger, a foreigner. For example, Antigone is revisited in light of the question of impossible mourning; Oedipus at Colonus is read via concerns that also apply to teletechnology; the trial of Socrates is brought into conjunction with the televised funeral of François Mitterrand.

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In the three essays that make up this stimulating and often startling book, Jacques Derrida argues against the notion that the basic ideas of psychoanalysis have been thoroughly worked through, argued, and assimilated. The continuing interest in psychoanalysis is here examined in the various "resistances" to analysis—conceived not only as a phenomenon theorized at the heart of psychoanalysis, but as psychoanalysis's resistance to itself, an insusceptibility to analysis that has to do with the structure of analysis itself. Derrida not only shows how the interest of psychoanalysis and psychoanalytic writing can be renewed today, but these essays afford him the opportunity to revisit and reassess a subject he first confronted (in an essay on Freud) in 1966. They also serve to clarify Derrida's thinking about the subjects of the essays—Freud, Lacan, and Foucault—a thinking that, especially with regard to the last two, has been greatly distorted and misunderstood. The first essay, on Freud, is a tour de force of close reading of Freud's texts as philosophical reflection. By means of the fine distinctions Derrida makes in this analytical reading, particularly of The Interpretation of Dreams, he opens up the realm of analysis into new and unpredictable forms—such as meeting with an interdiction (when taking an analysis further is "forbidden" by a structural limit). Following the essay that might be dubbed Derrida's "return to Freud," the next is devoted to Lacan, the figure for whom that phrase was something of a slogan. In this essay and the next, on Foucault, Derrida reencounters two thinkers to whom he had earlier devoted important essays, which precipitated stormy discussions and numerous divisions within the intellectual milieus influenced by their writings. In this essay, which skillfully integrates the concept of resistance into larger questions, Derrida asks in effect: What is the origin and nature of the text that constitutes Lacanian psychoanalysis, considering its existence as an archive, as teachings, as seminars, transcripts, quotations, etc.? Derrida's third essay may be called not simply a criticism but an appreciation of Foucault's work: an appreciation not only in the psychological and rhetorical sense, but also in the sense that it elevates Foucault's thought by giving back to it ranges and nuances lost through its reduction by his readers, his own texts, and its formulaic packaging.

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Athens, Still Remains is an extended commentary on a series of photographs of contemporary Athens by the French photographer Jean-François Bonhomme. But in Derrida’s hands commentary always has a way of unfolding or, better, developing in several unexpected and mutually illuminating directions. First published in French and Greek in 1996, Athens, Still Remains is Derrida’s most sustained analysis of the photographic medium in relationship to the history of philosophy and his most personal reflection on that medium. 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 verbal snapshot or aphorism that haunts the entire book: “we owe ourselves to death.” Reading this phrase through Bonhomme’s photographs of both the ruins of ancient Athens and contemporary scenes of a still-living Athens that is also on its way to ruin and death, Derrida interrogates a philosophical tradition that runs from Socrates to Heidegger in which the human—and especially the philosopher—is thought to owe himself to death, to a certain thought of death or comportment with regard to death. Combining philosophical speculations on mourning and death, event and repetition, and time and difference with incisive commentary on Bonhomme’s photographs and a narrative of Derrida’s 1995 trip to Greece, Athens, Still Remains is one of Derrida’s most accessible, personal, and moving works without being, for all that, any less philosophical. As Derrida reminds us, the word photography—an eminently Greek word—means “the writing of light,” and it brings together today into a single frame contemporary questions about the work of art in the age of mechanical reproduction and much older questions about the relationship between light, revelation, and truth—in other words, an entire philosophical tradition that first came to light in the shadow of the Acropolis.

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Contents • Shibboleth: For Paul Celan • “A Self-Unsealing Poetic Text”: Poetics and Politics of Witnessing • Language Does Not Belong: An Interview • The Majesty of the Present: Reading Celan’s “The Meridian” • Rams: Uninterrupted Dialogue—between Two Infinities, the Poem This book brings together five powerful encounters. Themes central to all of Derrida’s writings thread the intense confrontation between the most famous philosopher of our time and the Jewish poet writing in German who, perhaps more powerfully than any other, has testified to the European experience of the twentieth century. They include the date or signature and its singularity; the notion of the trace; temporal structures of futurity and the “to come”; the multiplicity of language and questions of translation; such speech acts as testimony and promising, but also lying and perjury; the possibility of the impossible; and, above all, the question of the poem as addressed and destined beyond knowledge, seeking to speak to and for the irreducibly other. The memory of encounters with thinkers who have also engaged Celan’s work animates these writings, which include a brilliant dialogue between two interpretative modes—hermeneutics and deconstruction. Derrida’s approach to a poem is a revelation on many levels, from the most concrete ways of reading —for example, his analysis of a sequence of personal pronouns—to the most sweeping imperatives of human existence (and Derrida’s writings are always a study in the imbrication of such levels). Above all, he voices the call to responsibility in the ultimate line of Celan’s poem: “The world is gone, I must carry you,” which sounds throughout the book’s final essay like a refrain. Only two of the texts in this volume do not appear here in English for the first time. Of these, Schibboleth has been entirely retranslated and has been set following Derrida's own instructions for publication in French; "A Self-Unsealing Poetic Text" was substantially rewritten by Derrida himself and basically appears here as the translation of a new text. Jacques Derrida’s most recent books in English translation include Counterpath: Traveling with Jacques Derrida (with Catherine Malabou). He died in Paris on October 8, 2004. Thomas Dutoit teaches at the Université de Paris 7. He translated Aporias and edited On the Name, both by Jacques Derrida.

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These two lectures by Jacques Derrida, "Foreigner Question" and "Step of Hospitality/No Hospitality," derive from a series of seminars on "hospitality" conducted by Derrida in Paris, January 1996. His seminars, in France and in America, have become something of an institution over the years, the place where he presents the ongoing evolution of his thought in a remarkable combination of thoroughly mapped-out positions, sketches of new material, and exchanges with students and interlocutors. As has become a pattern in Derrida's recent work, the form of this presentation is a self-conscious enactment of its content. The book consists of two texts on facing pages. "Invitation" by Anne Dufourmantelle appears on the left (an invitation that of course originates in a response), clarifying and inflecting Derrida's "response" on the right. The interaction between them not only enacts the "hospitality" under discussion, but preserves something of the rhythms of teaching. The volume also characteristically combines careful readings of canonical texts and philosophical topics with attention to the most salient events in the contemporary world, using "hospitality" as a means of rethinking a range of political and ethical situations. "Hospitality" is viewed as a question of what arrives at the borders, in the initial surprise of contact with an other, a stranger, a foreigner. For example, Antigone is revisited in light of the question of impossible mourning; Oedipus at Colonus is read via concerns that also apply to teletechnology; the trial of Socrates is brought into conjunction with the televised funeral of François Mitterrand.

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In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the present in a situation of "live" recording? How can we respond, responsibly, to a question when we know that the so-called "natural" conditions of expression, discussion, reflection, and deliberation have been breached? As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida's thought become apparent. Drawing on recent events in Europe, Derrida and Stiegler explore the impact of television and the internet on our understanding of the state, its borders and citizenship. Their discussion examines the relationship between the juridical and the technical, and it shows how new technologies for manipulating and transmitting images have influenced our notions of democracy, history and the body. The book opens with a shorter interview with Derrida on the news media, and closes with a provocative essay by Stiegler on the epistemology of digital photography. In Echographies of Television, Derrida and Stiegler open up questions that are of key social and political importance. Their book will be of great interest to all those already familiar with Derrida's work, as well as to students and scholars of philosophy, literature, sociology and media studies.

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An exploration of the political dimensions of forgiveness and repentance from Jacques Derrida. Perjury and Pardon is a two-year seminar series given by Jacques Derrida at the École des hautes études en sciences sociales in Paris during the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a “problematic of lying” by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. This volume covers the seminar’s second year when Derrida explores the political dimensions of forgiveness and repentance. Over eight sessions, he discusses Hegel, Augustine, Levinas, Arendt, and Benjamin as well as Bill Clinton’s impeachment and Nelson Mandela and Desmond Tutu’s testimonies before the Truth and Reconciliation Commission. The seminars conclude with an extended reading of Henri Thomas’s 1964 novel Le Parjure.

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An inquiry into the problematic of perjury, or lying, and forgiveness from one of the most influential philosophers of the twentieth century. “One only ever asks forgiveness for what is unforgivable.” From this contradiction begins Perjury and Pardon, a two-year series of seminars given by Jacques Derrida at the École des hautes études en sciences sociales in Paris in the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a “problematic of lying” by studying diverse forms of betrayal: infidelity, denial, false testimony, perjury, unkept promises, desecration, sacrilege, and blasphemy. Although forgiveness is a notion inherited from multiple traditions, the process of forgiveness eludes those traditions, disturbing the categories of knowledge, sense, history, and law that attempt to circumscribe it. Derrida insists on the unconditionality of forgiveness and shows how its complex temporality destabilizes all ideas of presence and even of subjecthood. For Derrida, forgiveness cannot be reduced to repentance, punishment, retribution, or salvation, and it is inseparable from, and haunted by, the notion of perjury. Through close readings of Kant, Kierkegaard, Shakespeare, Plato, Jankélévitch, Baudelaire, and Kafka, as well as biblical texts, Derrida explores diverse notions of the “evil” or malignancy of lying while developing a complex account of forgiveness across different traditions.

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For Strasbourg consists of a series of essays and interviews about the city of Strasbourg and the philosophical friendships Jacques Derrida developed there over a period of some forty years. Written just months before his death, the opening essay, “The Place Name(s): Strasbourg,” recounts in detail, and in very moving terms, Derrida’s deep attachment to this French city on the border between France and Germany. More than just a personal narrative, however, the essay is a profound interrogation of the relationship between philosophy and place, philosophy and language, and philosophy and friendship. As such, it raises a series of philosophical, political, and ethical questions that might all be placed under the aegis of what Derrida once called “philosophical nationalities and nationalism.” The other three texts included in the book are long interviews/conversations between Derrida and his two principal interlocutors in Strasbourg, Jean-Luc Nancy and Philippe Lacoue-Labarthe. These interviews are significant both for the themes they focus on (language, politics, friendship, death, life after death, and so on) and for what they reveal about Derrida’s relationships to Nancy and Lacoue-Labarthe. Filled with sharp insights into one anothers’ work and peppered with personal anecdotes and humor, the interviews bear witness to the decades-long intellectual friendships of these three important contemporary thinkers. This collection thus stands as a reminder of and testimony to Derrida’s unique relationship to Strasbourg and to the two thinkers most closely associated with that city.

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Psyche: Inventions of the Other is the first publication in English of the twenty-eight essay collection Jacques Derrida published in two volumes in 1998 and 2003. In Volume I, Derrida advances his reflection on many topics: psychoanalysis, theater, translation, literature, representation, racism, and nuclear war, among others. The essays in this volume also carry on Derrida's engagement with a number of key thinkers and writers: Barthes, Benjamin, de Man, Flaubert, Freud, Heidegger, Lacoue-Labarthe, Levinas, and Ponge. Included in this volume are new or revised translations of seminal essays (for example, "Psyche: Invention of the Other," "The Retrait of Metaphor," "At This Very Moment in This Work Here I Am," "Tours de Babel" and "Racism's Last Word"), as well as three essays that appear here in English for the first time.

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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 Francois Jacob, and epistemologist Georges Canguilhem. Derrida gave his "Life Death" seminar over fourteen sessions between 1975 and 1976 at the Ecole normale superieure in Paris as part of the preparation for students studying for the agregation, 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."

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The Animal That Therefore I Am is the long-awaited translation of the complete text of Jacques Derrida’s ten-hour address to the 1997 Cérisy conference entitled “The Autobiographical Animal,” the third of four such colloquia on his work. The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session. The book is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction—dating from Descartes—between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.” Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them. The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts” and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life” to which he returned in much of his later work.

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Rogues, published in France under the title Voyous, comprises two major lectures that Derrida delivered in 2002 investigating the foundations of the sovereignty of the nation-state. The term "État voyou" is the French equivalent of "rogue state," and it is this outlaw designation of certain countries by the leading global powers that Derrida rigorously and exhaustively examines. Derrida examines the history of the concept of sovereignty, engaging with the work of Bodin, Hobbes, Rousseau, Schmitt, and others. Against this background, he delineates his understanding of "democracy to come," which he distinguishes clearly from any kind of regulating ideal or teleological horizon. The idea that democracy will always remain in the future is not a temporal notion. Rather, the phrase would name the coming of the unforeseeable other, the structure of an event beyond calculation and program. Derrida thus aligns this understanding of democracy with the logic he has worked out elsewhere. But it is not just political philosophy that is brought under deconstructive scrutiny here: Derrida provides unflinching and hard-hitting assessments of current political realities, and these essays are highly engaged with events of the post-9/11 world.

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Jacques Derrida is, in the words of the New York Times, "perhaps the world's most famous philosopher if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. The Work of Mourning is a collection that honors those friendships in the wake of passing. Gathered here are texts letters of condolence, memorial essays, eulogies, funeral orations written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jab\u00e8s, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-Fran\u00e7ois Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servi\u00e8re. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work." Steven Poole, Guardian "Strikingly simpa meditations on friendship, on shared vocations and avocations and on philosophy and history." Publishers Weekly

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Parages brings together four essays by Derrida on the fictions of Maurice Blanchot. Three of the essays—"Living On," "Title To Be Specified," and "The Law of Genre," are by now canonical. The fourth, "Pace Not(s)" as well as Derrida's 1986 introduction to the French edition of the book, appear here in English for the first time. This was a breakthrough publication in the analysis of Blanchot, a notoriously difficult writer. It is safe to say Derrida contributed much to that writer's reputation in both French and English, always insisting on the philosophical pertinence of Blanchot's work to any discussion of the relationship between literature and critical thought. Through patient citation, and an ample collocation and readings of Blanchot's various motifs, Derrida explores a variety of questions, including the limits of genre, the procedure of crossing out, and the evocation of a non-dialectical and non-privative negativity. The book marks a crucial stage in Derrida's itinerary and provides a context for his later writings on apophatics in such works as On the Name (SUP, 1995) and his response to Heidegger on death in Aporias (SUP, 1993).

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This volume contains the speech given by Derrida at Emmanuel Levinas's funeral on December 27, 1995, and his contribution to a colloquium organized to mark the first anniversary of Levinas's death. For both thinkers, the word adieu names a fundamental characteristic of human being: the salutation or benediction prior to all constative language (in certain circumstances, one can say adieu at the moment of meeting) and that given at the moment of separation, sometimes forever, as at the moment of death, it is also the a-dieu, for God or to God before and in any relation to the other. In this book, Derrida extends his work on Levinas in previously unexplored directions via a radical rereading of Totality and Infinity and other texts, including the lesser-known talmudic readings. He argues that Levinas, especially in Totality and Infinity, bequeaths to us an "immense treatise of hospitality," a meditation on the welcome offered to the other. The conjunction of an ethics of pure prescription with the idea of an infinite and absolute hospitality confronts us with the most pressing political, juridical, and institutional concerns of our time. What, then, is an ethics and what is a politics of hospitality? And what, if it ever is, would be a hospitality surpassing any ethics and any politics we know? As always, Derrida raises these questions in the most explicit of terms, moving back and forth between philosophical argument and the political discussion of immigration laws, peace, the state of Israel, xenophobia—reminding us with every move that thinking is not a matter of neutralizing abstraction, but a gesture of hospitality for what happens and still may happen.

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This volume contains the speech given by Derrida at Emmanuel Levinas's funeral on December 27, 1995, and his contribution to a colloquium organized to mark the first anniversary of Levinas's death. For both thinkers, the word adieu names a fundamental characteristic of human being: the salutation or benediction prior to all constative language (in certain circumstances, one can say adieu at the moment of meeting) and that given at the moment of separation, sometimes forever, as at the moment of death, it is also the a-dieu, for God or to God before and in any relation to the other. In this book, Derrida extends his work on Levinas in previously unexplored directions via a radical rereading of Totality and Infinity and other texts, including the lesser-known talmudic readings. He argues that Levinas, especially in Totality and Infinity, bequeaths to us an "immense treatise of hospitality," a meditation on the welcome offered to the other. The conjunction of an ethics of pure prescription with the idea of an infinite and absolute hospitality confronts us with the most pressing political, juridical, and institutional concerns of our time. What, then, is an ethics and what is a politics of hospitality? And what, if it ever is, would be a hospitality surpassing any ethics and any politics we know? As always, Derrida raises these questions in the most explicit of terms, moving back and forth between philosophical argument and the political discussion of immigration laws, peace, the state of Israel, xenophobia—reminding us with every move that thinking is not a matter of neutralizing abstraction, but a gesture of hospitality for what happens and still may happen.

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In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Momo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida ...will present a lecture about Artaud's drawings." For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.

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The seventh in our series of Derrida's seminars, Life Death provides interdisciplinary reflections on the relationship of life and death—now in paperback. One of Jacques Derrida’s most provocative works, Life Death deconstructs a deeply rooted dichotomy of Western thought: life and death. In rethinking the relationship between life and death, Derrida undertakes a multi-disciplinary analysis of a range of topics across philosophy, linguistics, and the life sciences. Derrida gave this seminar over fourteen sessions between 1975 and 1976 at the École normale supérieure in Paris to prepare students for the agrégation, a notoriously competitive 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. Through close readings of Freudian psychoanalysis, the philosophy of Nietzsche and Heidegger, French geneticist François Jacob, and epistemologist Georges Canguilhem, 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. 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.”

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Philosopher, literary critic, translator (of Nietzsche and Benjamin), Philippe Lacoue-Labarthe is one of the leading intellectual figures in France. This volume of six essays deals with the relation between philosophy and aesthetics, particularly the role of mimesis in a metaphysics of representation. Comment [1997] "Typography is a book whose importance has not diminished since its first publication in French in 1979. On the contrary, I would say, it is only now that one can truly begin to appreciate the groundbreaking status of these essays. The points it makes, the way it approaches the questions of mimesis, fictionality, and figurality, is unique. There are no comparable books, or books that could supersede it." —Rudolphe Gasché, State University of New York, Buffalo "Lacoue-Labarthe's essays still set the standards for thinking through the problem of subjectivity without simply retreating behind insights already gained. But this book is much more than a collection of essays: it constitutes a philosophical project in its own right. Anybody interested in the problem of mimesis—whether from a psychoanalytic, platonic, or any other philosophical angle—cannot avoid an encounter with this book. Lacoue-Labarthe is a philosopher and a comparatist in the highest sense of the word, and the breadth of his knowledge and the rigor of his thought are exemplary." —Eva Geulen, New York University Review "In demonstrating how mimesis has determined philosophical thought, Lacoue-Labarthe provokes us into reconsidering our understanding of history and politics. . . . Together with the introduction, these essays are essential reading for anyone interested in Heidegger, postmodernism, and the history of mimesis in philosophy and literature." —The Review of Metaphysics

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Jacques Derrida's revolutionary approach to phenomenology, psychoanalysis, structuralism, linguistics, and indeed the entire European tradition of philosophy-called deconstruction-changed the face of criticism. It provoked a questioning of philosophy, literature, and the human sciences that these disciplines would have previously considered improper. Forty years after Of Grammatology first appeared in English, Derrida still ignites controversy, thanks in part to Gayatri Chakravorty Spivak's careful translation, which attempted to capture the richness and complexity of the original. This fortieth anniversary edition, where a mature Spivak retranslates with greater awareness of Derrida's legacy, also includes a new afterword by her which supplements her influential original preface. Judith Butler has added an introduction. All references in the work have been updated. One of contemporary criticism's most indispensable works, Of Grammatology is made even more accessible and usable by this new release.

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In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Momo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida ...will present a lecture about Artaud's drawings." For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.

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Jacques Derrida explores the ramifications of what we owe to others.Hospitality reproduces a two-year seminar series delivered by Jacques Derrida at the École des hautes études en sciences sociales in Paris between 1995 and 1997. In these lectures, Derrida asks a series of related questions about responsibility and “the foreigner”: How do we welcome or turn away the foreigner? What does the idea of the foreigner reveal about kinship and the state, particularly in relation to friendship, citizenship, migration, asylum, assimilation, and xenophobia? Derrida approaches these questions through readings of several classical texts as well as modern texts by Heidegger, Arendt, Camus, and others. Central to his project is a rigorous distinction between conventional, finite hospitality, with its many conditions, and the aspirational idea of hospitality as something offered unconditionally to the stranger. This volume collects the first year of the seminar.

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This book makes available for the first time in English—and for the first time in its entirety in any language—an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. Copy, Archive, Signature will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time.

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