Jacques Derrida – författare

Marx spöken intar en speciell plats i Jacques Derridas filosofiska författarskap. Derrida betraktades länge huvudsakligen som språkfilosof eller dekonstruktör av den västerländska filosofins kanon. Under det senaste decenniet har det blivit vanligt att tala om en etisk och politisk »vändning» i hans tänkande. Marx spöken betraktas då som själva platsen för denna vändning. Derrida skulle här ha lämnat sin tidigare upptagenhet med språk och text till förmån för frågor om rättvisa och ansvar. Detta har antingen välkomnats som tecken på ett etiskt imperativ i Derridas filosofi eller avfärdats som en till intet förpliktande utopism, där Derrida åkallar en »rättvisa» och ett »ansvar» utan förankring i den faktiska verkligheten. Det finns emellertid goda skäl att inte acceptera någon av dessa läsarter. Dekonstruktionen har aldrig begränsat sig till att analysera språk eller text. Etisk-politiska frågor har från första början varit viktiga och Marx spöken utvecklar tankespår som löper genom hela Derridas filosofi. Men man kan inte utvinna en given »etik» eller »politik» ur Derridas tänkande. Rättvisa kan hos honom inte förstås som ett etiskt ideal eller en utopisk idé. Han utgår tvärtom från ett ifrågasättande av själva idén om ett idealt tillstånd. Till den svenska översättningen har Martin Hägglund skrivit en introduktion.

Using the philosophy of Jean-Luc Nancy as an anchoring point, Jacques Derrida in this book conducts a profound review of the philosophy of the sense of touch, from Plato and Aristotle to Jean-Luc Nancy, whose ground-breaking book Corpus he discusses in detail. Emmanuel Levinas, Maurice Merleau-Ponty, Edmund Husserl, Didier Franck, Martin Heidegger, Francoise Dastur, and Jean-Louis Chrétien are discussed, as are René Descartes, Diderot, Maine de Biran, Félix Ravaisson, Immanuel Kant, Sigmund Freud, and others. The scope of Derrida's deliberations makes this book a virtual encyclopedia of the philosophy of touch (and the body).Derrida gives special consideration to the thinking of touch in Christianity and, in discussing Jean-Luc Nancy's essay "Deconstruction of Christianity," devotes a section of the book to the sense of touch in the Gospels. Another section concentrates on "the flesh," as treated by Merleau-Ponty and others in his wake. Derrida's critique of intuitionism, notably in the phenomenological tradition, is one of the guiding threads of the book.On Touching includes a wealth of notes that provide an extremely useful bibliographical resource. Personal and detached all at once, this book, one of the first published in English translation after Jacques Derrida's death, serves as a useful and poignant retrospective on the work of the philosopher. A tribute by Jean-Luc Nancy, written a day after Jacques Derrida's death, is an added feature.

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.

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 PoemThis book brings together five powerful encounters. Themes central to all ofDerrida's writings thread the intense confrontation between the most famousphilosopher of our time and the Jewish poet writing in German who, perhapsmore powerfully than any other, has testified to the European experience ofthe 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 languageand questions of translation; such speech acts as testimony and promising, butalso lying and perjury; the possibility of the impossible; and, above all, the questionof the poem as addressed and destined beyond knowledge, seeking to speak toand for the irreducibly other.The memory of encounters with thinkers who have also engaged Celan's workanimates these writings, which include a brilliant dialogue between twointerpretative modes—hermeneutics and deconstruction. Derrida's approach toa 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 mostsweeping imperatives of human existence (and Derrida's writings are alwaysa study in the imbrication of such levels). Above all, he voices the call toresponsibility 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.

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.

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.

Derrida's first book-length work, "The Problem of Genesis in Husserl's Philosophy", was originally written for his "diplome d'etudes superieurs" in 1953 and 1954. Surveying Husserl's major works on phenomenology, Derrida reveals what he sees as an internal tension in Husserl's central notion of "genesis" and gives us our first glimpse into the concerns and frustrations that would later lead him to abandon phenomenology and develop his now famous method of deconstruction. For Derrida, the problem of genesis in Husserl's philosophy is that both temporality and meaning must be generated by prior acts of the transcendental subject, but transcendental subjectivity must itself be constituted by an act of genesis. Hence, the notion of genesis in the phenomenological sense underlies both temporality and atemporality, history and philosophy, resulting in a tension that Derrida sees as ultimately unresolvable yet central to the practice of phenomenology."The Problem of Geneses" complements Husserl's posthumously published "Origin of Geometry" and Derrida's own "Speech and Phenomena", showing the development of Derrida's approach to phenomenology as well as documenting the state of phenomenological thought in France during a particularly fertile period, when Levinas, Sartre, Merleau-Ponty, Ricoeur and Tran-Duc-Thao, as well as Derrida, were all working through it. But the book is most important in allowing us to follow Derrida's own development as a philosopher by tracing the roots of his later work in deconstruction to these early critical reflections on Husserl's phenomenology.

In two volumes, Geoffrey Bennington and Kas Saghafi present the majority of Jacques Derrida’s untranslated, and previously uncollected, essays and interviews. Dating mostly from 1992 to 2004, these writings offer a fuller picture of Derrida’s biography, theoretical engagements and the stakes of his social and political investments. Institutions, Inventions, and Inscriptions by Jacques Derrida: Thinking What Comes, Volume 2 collects Derrida’s writings on friends including Emmanuel Levinas, Alain David, Louis Marin, Marie-Louise Mallet, Safaa Fathy, Mathieu Bénézet and Jos Joliet. It also features interviews that illuminate his experience at school, his writing habits, the relation he saw between philosophical discourse to the ‘poetic’, and his views on the singularity of literature and fiction. Whether writing about racism and anti-Semitism, filiation and fidelity, or hospitality and responsibility, Derrida is razor-sharp and impassioned. These volumes allow significant insight into his mature thought.

In two volumes, Geoffrey Bennington and Kas Saghafi present the majority of Jacques Derrida’s untranslated, and previously uncollected, essays and interviews. Dating mostly from 1992 to 2004, these writings offer a fuller picture of Derrida’s biography, theoretical engagements and the stakes of his social and political investments. In the interviews in Essays, Interviews, and Interventions by Jacques Derrida: Thinking What Comes, Volume 1, Derrida proposes the foundation of a new European political culture, discusses the strengths of Nelson Mandela, and reflects on the archive. He also considers his experience of political life, his relationship to institutions (particularly the Collège international de philosophie), and his views on ‘intellectualism’. Whether writing about public health, Palestine, or the notion of the promise, Derrida is razor-sharp and impassioned. These volumes allow significant insight into his mature thought.

This volume collects twenty-three interviews given over the course of the last two decades by Jacques Derrida. It illustrates the extraordinary breadth of his concerns, touching upon such subjects as the teaching of philosophy, sexual difference and feminine identity, the media, AIDS, language and translation, nationalism, politics, and Derrida's early life and the history of his writings. Often, as in the interview on Heidegger, or that on drugs, or on the nature of poetry, these interviews offer not only an introduction to other discussions, but something available nowhere else in his work.When did feminist discourse become an indispensable consideration for deconstruction? What was the impact on Derrida's work of his being an Algerian Jew growing up during World War II? Is there an ineradicable gap between language-based attitude such as those found in a deconstruction and subjectivity-oriented critical models such as those developed by Foucault and Lacan? Such questions as these are answered with great thoughtfulness and intensity.Derrida's oral style is patient, generous, and helpful. His tone varies with the questioners and the subject matter—militant, playful, strategic, impassioned, analytic: difference in modulation can sometimes be heard within the same dialogue. The informality of the interview process frequently leads to the most succinct and lucid explications to be found of many of the most important and influential aspects of Derrida's thought. Sixteen of the interviews appear here for the first time in English, including an interview, conducted especially for this volume, concerning the recent exchange of letters in the New York Review of Books.

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.

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.

"My death—is it possible?"That is the question asked, explored, and analyzed in Jacques Derrida's new book. "Is my death possible?" How is this question to be understood? How and by whom can it be asked, can it be quoted, can it be an appropriate question, and can it be asked in the appropriate moment, the moment of "my death"? One of the aporetic experiences touched upon in this seminal essay is the impossible, yet unavoidable experience that "my death" can never subject to an experience that would be properly mine, that I can have, and account for, yet that there is, at the same time, nothing closer to me and more properly mine than "my death."This book bears a special significance because in it Derrida focuses on an issue that has informed the whole of his work up to the present. For the last thirty years, Derrida has repeatedly, in various contexts and various ways, broached the question of aporia. Making it his central concern here Derrida stakes out a new frontier, at which the debate with his work must take place from now on: the debate about the aporia between singularity and generality, about the national, linguistic, and cultural specificity of experience and the trans-national, trans-cultural law that protects this specificity of experience and of the necessity to continue working in the tradition of critique and of the idea of critique, yet the corresponding necessity to transcend it without compromising it; the aporetical obligation to host the foreigner and the alien and yet to respect him, her, or it as foreign.The foreign or the foreigner has always been considered a figure of death, and death a figure of the foreign. How this figure has been treated in the analytic of death in Heidegger's Being in Time is explored by Derrida in analytical tour de force that will not fail to set new standards for the discussion of Heidegger and for dealing with philosophical texts, with their limits and their aporias. The detailed discussion of the theoretical presuppositions of recent cultural histories of death (Ariès, for example) and of psychological theorizations of death (including Freud's) broaden the scope of Derrida's investigation and indicate the impact of the aporia of "my death" for any possible theory.

"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger—each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book—a source of true illumination for those prepared to follow his arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."—Alexander Gelley, Library Journal

Completing the translation of Derrida's monumental work Right to Philosophy (the first part of which has already appeared under the title of Who's Afraid of Philosophy?), Eyes of the University brings together many of the philosopher's most important texts on the university and, more broadly, on the languages and institutions of philosophy.In addition to considerations of the implications for literature and philosophy of French becoming a state language, of Descartes' writing of the Discourse on Method in French, and of Kant's and Schelling's philosophies of the university, the volume reflects on the current state of research and teaching in philosophy and on the question of what Derrida calls a "university responsibility."Examining the political and institutional conditions of philosophy, the essays collected here question the growing tendency to orient research and teaching towards a programmable and profitable end. The volume is therefore invaluable for the light it throws upon an underappreciated aspect of Derrida's own engagement, both philosophical and political, in struggles against the stifling of philosophical research and teaching.As a founding member of the Research Group on the Teaching of Philosophy and as one of the conveners of the Estates General of Philosophy, Derrida was at the forefront of the struggle to preserve and extend the teaching of philosophy as a distinct discipline, in secondary education and beyond, in the face of conservative government education reforms in France. As one of the founders of the Collège International de Philosophie, he worked to provide a space for research in and around philosophy that was not accepted or legitimated in other institutions. Documenting and reflecting upon these engagements, Eyes of the University brings together some of the most important and incisive of Derrida's works.

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.”

In Archive Fever, Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology—fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling."Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."—The Guardian"[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."—Choice"Beautifully written and clear."—Jeremy Barris, Philosophy in Review"Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."—Library Journal

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.

The Gift of Death, Jacques Derrida’s most sustained consideration of religion, explores questions first introduced in his book Given Time about the limits of the rational and responsible that one reaches in granting or accepting death, whether by sacrifice, murder, execution, or suicide. Derrida analyzes Czech philosopher Jan Patocka’s Heretical Essays in the Philosophy of History and develops and compares his ideas to the works of Heidegger, Lévinas, and Kierkegaard. One of Derrida’s major works, The Gift of Death resonates with much of his earlier writing, and this highly anticipated second edition is greatly enhanced by David Wills’s updated translation. This new edition also features the first-ever English translation of Derrida’s Literature in Secret. In it, Derrida continues his discussion of the sacrifice of Isaac, which leads to bracing meditations on secrecy, forgiveness, literature, and democracy. He also offers a reading of Kafka’s Letter to His Father and uses the story of the flood in Genesis as an embarkation point for a consideration of divine sovereignty. “An important contribution to the critical study of ethics that commends itself to philosophers, social scientists, scholars of religion . . . [and those] made curious by the controversy that so often attends Derrida.”—Booklist, on the first edition

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.

Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks.The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.

17 November 1979You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean to happen, to arrive, to have to happen or arrive, to let or to make happen or arrive, to destine, to address, to send, to legate, to inherit, etc., if it all still signifies, between here and there, the near and the far, da und fort, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself.J. D."With The Post Card, as with Glas, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel (the long section is called "Envois," roughly, "dispatches" ), he stages his writing more overtly than in the scholarly works. . . . The Post Card also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, Library Journal

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.

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.