Irving Goh - Böcker

This collection presents a sort of counter-history or counter-genealogy of the globalization of French thought from the point of view of scholars working in the UK. While the dominating discourse would attribute the US as the source of that globalization, particularly through the 1966 conference on the Languages of Criticism and the Sciences of Man at Johns Hopkins University, this volume of essays serves as a reminder that the UK has also been a principal motor of that globalization. The essays take into account how French thought and literary theory have institutionally taken shape in the UK from the 70s to today, highlight aspects of French thought that have been of particular pertinence or importance for scholars there, and outline how researchers in the UK today are bringing French thought further in terms of teaching and research in this twenty-first century. In short, this volume traces how the country has been behind the reception and development of French thought in Anglophone worlds from the late 70s to the present.

Jean-Luc Nancy stands as one of the great French theorists of "deconstruction." His writings on philosophy, politics, aesthetics, and religion have significantly contributed to the development of contemporary French thought and helped shape and transform the field of continental philosophy. Through Nancy's immense oeuvre, which covers a wide range of topics such as community, freedom, existence, sense/ touch, democracy, Christianity, the visual arts and music, and writing itself, we have learned to take stock of the world in a more nuanced fashion. In this collection, contemporaries of Nancy and eminent scholars of continental philosophy, including Giorgio Agamben, Étienne Balibar, Ginette Michaud, Georges Van Den Abbeele, Gregg Lambert and Ian James, have been invited to reflect on the force of Nancy's "deconstruction" and how it has affected, or will affect, the ways we approach many of the most pertinent topics in contemporary philosophy. The collection also includes Jean-Luc Nancy's previously unpublished 'Dialogue Beneath the Ribs', where he reflects, twenty years after, on his heart transplant. Nancy Now will be of critical interest not only to scholars working on or with Nancy's philosophy, but also to those interested in the development and future of French thought.

Jean-Luc Nancy stands as one of the great French theorists of "deconstruction." His writings on philosophy, politics, aesthetics, and religion have significantly contributed to the development of contemporary French thought and helped shape and transform the field of continental philosophy. Through Nancy's immense oeuvre, which covers a wide range of topics such as community, freedom, existence, sense/ touch, democracy, Christianity, the visual arts and music, and writing itself, we have learned to take stock of the world in a more nuanced fashion. In this collection, contemporaries of Nancy and eminent scholars of continental philosophy, including Giorgio Agamben, Étienne Balibar, Ginette Michaud, Georges Van Den Abbeele, Gregg Lambert and Ian James, have been invited to reflect on the force of Nancy's "deconstruction" and how it has affected, or will affect, the ways we approach many of the most pertinent topics in contemporary philosophy. The collection also includes Jean-Luc Nancy's previously unpublished 'Dialogue Beneath the Ribs', where he reflects, twenty years after, on his heart transplant. Nancy Now will be of critical interest not only to scholars working on or with Nancy's philosophy, but also to those interested in the development and future of French thought.

This book proposes a theory of the reject, a more adequate figure than the subject for thinking friendship, love, community, democracy, the postsecular, and the posthuman.Through close readings of Nancy, Deleuze, Derrida, Cixous, Clement, Bataille, Balibar, Ranciere, and Badiou, Goh shows how the reject has always been nascent in contemporary French thought. The recent turn to animals and bare life, as well as the rise of the Occupy movement, he argues, presents a special urgency to think the reject today.Thinking the reject most importantly helps to advance our commitment to affirm others without acculturating their differences. But the reject also offers, Goh proposes, a response finally commensurate with the radical horizon of Nancy's question of who comes after the subject.

This collection presents a sort of counter-history or counter-genealogy of the globalization of French thought from the point of view of scholars working in the UK. While the dominating discourse would attribute the US as the source of that globalization, particularly through the 1966 conference on the Languages of Criticism and the Sciences of Man at Johns Hopkins University, this volume of essays serves as a reminder that the UK has also been a principal motor of that globalization. The essays take into account how French thought and literary theory have institutionally taken shape in the UK from the 70s to today, highlight aspects of French thought that have been of particular pertinence or importance for scholars there, and outline how researchers in the UK today are bringing French thought further in terms of teaching and research in this twenty-first century. In short, this volume traces how the country has been behind the reception and development of French thought in Anglophone worlds from the late 70s to the present.

In The Deconstruction of Sex, Jean-Luc Nancy and Irving Goh discuss how a deconstructive approach to sex helps us negotiate discourses about sex and foster a better understanding of how sex complicates our everyday existence in the age of #MeToo. Throughout their conversation, Nancy and Goh engage with topics ranging from relation, penetration, and subjection to touch, erotics, and jouissance. They show how despite its entrenchment in social norms and centrality to our being-in-the-world, sex lacks a clearly defined essence. At the same time, they point to the potentiality of literature to inscribe the senses of sex. In so doing, Nancy and Goh prompt us to reconsider our relations with ourselves and others through sex in more sensitive, respectful, and humble ways without bracketing the troubling aspects of sex.

In The Deconstruction of Sex, Jean-Luc Nancy and Irving Goh discuss how a deconstructive approach to sex helps us negotiate discourses about sex and foster a better understanding of how sex complicates our everyday existence in the age of #MeToo. Throughout their conversation, Nancy and Goh engage with topics ranging from relation, penetration, and subjection to touch, erotics, and jouissance. They show how despite its entrenchment in social norms and centrality to our being-in-the-world, sex lacks a clearly defined essence. At the same time, they point to the potentiality of literature to inscribe the senses of sex. In so doing, Nancy and Goh prompt us to reconsider our relations with ourselves and others through sex in more sensitive, respectful, and humble ways without bracketing the troubling aspects of sex.

In Living On After Failure, Irving Goh dwells with failure and all of its negative affects. Goh does not seek a theorization of failure as something to overcome or turn into a recuperative philosophy or progress narrative. Rather, he engages with the ontological condition of failure as a process of staying with the impasse that failure brings. Drawing on the thought of Berlant, Derrida, Foucault, and Nancy, Goh examines works by contemporary writers like Ottessa Moshfegh, Rachel Cusk, Édouard LevÉ, Yiyun Li, and Kate Zambreno. He guides readers through stages of reckoning with failure as an immersive impasse: flopping, drifting itself, a dark care of the self, melodrama, and post-scripting. By unsettling the failure/success binary, Goh provides those who cannot shake off their sense of failure or who refuse the narratives of progress or success and their ideologies of grit and resilience, with discursive and affective spaces to attend to their desire to be attached to their failures.

In Living On After Failure, Irving Goh dwells with failure and all of its negative affects. Goh does not seek a theorization of failure as something to overcome or turn into a recuperative philosophy or progress narrative. Rather, he engages with the ontological condition of failure as a process of staying with the impasse that failure brings. Drawing on the thought of Berlant, Derrida, Foucault, and Nancy, Goh examines works by contemporary writers like Ottessa Moshfegh, Rachel Cusk, Édouard LevÉ, Yiyun Li, and Kate Zambreno. He guides readers through stages of reckoning with failure as an immersive impasse: flopping, drifting itself, a dark care of the self, melodrama, and post-scripting. By unsettling the failure/success binary, Goh provides those who cannot shake off their sense of failure or who refuse the narratives of progress or success and their ideologies of grit and resilience, with discursive and affective spaces to attend to their desire to be attached to their failures.

Touching Literature, or The Experience of the Limit shows how radical engagements with touch allow literature to transcend boundaries of temporality, mortality and finitude, subjectivity, territorial differences, and the material limits of the artwork itself. Departing from philosophies of touch – proposed by such thinkers as Jean-Paul Sartre, Maurice Merleau-Ponty, Jean-Luc Nancy, Luce Irigaray, and Hélène Cixous – that call for respecting personal limits, Irving Goh finds that literary works can be more audacious with touch, both testing and transgressing those limits.Through readings of various texts – Marcel Proust's In Search of Lost Time, three novels by Clarice Lispector (Passion According to G. H., Água Viva, and A Breath of Life), and Anthony Doerr's All the Light We Cannot See, as well as Shakespeare's sonnets, the poems of E. E. Cummings, and Ovid's Pygmalion story – Goh contends that being attuned to literary articulations of touch, as well as being sensitive to the experience of being touched by a text, illuminate the urgency of existence not only in the texts in question but also for us readers at a time when personal interactions are increasingly distant and mediated by screens.

Touching Literature, or The Experience of the Limit shows how radical engagements with touch allow literature to transcend boundaries of temporality, mortality and finitude, subjectivity, territorial differences, and the material limits of the artwork itself. Departing from philosophies of touch – proposed by such thinkers as Jean-Paul Sartre, Maurice Merleau-Ponty, Jean-Luc Nancy, Luce Irigaray, and Hélène Cixous – that call for respecting personal limits, Irving Goh finds that literary works can be more audacious with touch, both testing and transgressing those limits.Through readings of various texts – Marcel Proust's In Search of Lost Time, three novels by Clarice Lispector (Passion According to G. H., Água Viva, and A Breath of Life), and Anthony Doerr's All the Light We Cannot See, as well as Shakespeare's sonnets, the poems of E. E. Cummings, and Ovid's Pygmalion story – Goh contends that being attuned to literary articulations of touch, as well as being sensitive to the experience of being touched by a text, illuminate the urgency of existence not only in the texts in question but also for us readers at a time when personal interactions are increasingly distant and mediated by screens.

This volume focuses on the relational aspect of Jean-Luc Nancy's thinking. As Nancy himself showed, thinking might be a solitary activity but it is never singular in its dimension. Building on or breaking away from other thoughts, especially those by thinkers who had come before, thinking is always plural, relational. This "singular plural" dimension of thought in Nancy's philosophical writings demands explication.In this book, some of today's leading scholars in the theoretical humanities shed light on how Nancy's thought both shares with and departs from Descartes, Hegel, Marx, Heidegger, Weil, Lacan, Merleau-Ponty, and Lyotard, elucidating "the sharing of voices," in Nancy's phrase, between Nancy and these thinkers.Contributors: Georges Van Den Abbeele, Emily Apter, Rodolphe Gasché, Werner Hamacher, Eleanor Kaufman, Marie-Eve Morin, Timothy Murray, Jean-Luc Nancy, and John H. Smith