Meridian: Crossing Aesthetics - Böcker

What is a technical object? At the beginning of Western philosophy, Aristotle contrasted beings formed by nature, which had within themselves a beginning of movement and rest, and man-made objects, which did not have the source of their own production within themselves. This book, the first of three volumes, revises the Aristotelian argument and develops an innovative assessment whereby the technical object can be seen as having an essential, distinct temporality and dynamics of its own.The Aristotelian concept persisted, in one form or another, until Marx, who conceived of the possibility of an evolution of technics. Lodged between mechanics and biology, a technical entity became a complex of heterogeneous forces. In a parallel development, while industrialization was in the process of overthrowing the contemporary order of knowledge as well as contemporary social organization, technology was acquiring a new place in philosophical questioning. Philosophy was for the first time faced with a world in which technical expansion was so widespread that science was becoming more and more subject to the field of instrumentality, with its ends determined by the imperatives of economic struggle or war, and with its epistemic status changing accordingly. The power that emerged from this new relation was unleashed in the course of the two world wars.Working his way through the history of the Aristotelian assessment of technics, the author engages the ideas of a wide range of thinkers—Rousseau, Husserl, and Heidegger, the paleo-ontologist Leroi-Gourhan, the anthropologists Vernant and Detienne, the sociologists Weber and Habermas, and the systems analysts Maturana and Varela.

Disorientation is the first publication in English of the second volume of Technics and Time, in which French philosopher Bernard Stiegler engages in a close dialogue with Husserl, Derrida, and other philosophers who have devoted their energies to technics, such as Heidegger and Simondon.The author's broad intent is to respond to Western philosophy's historical exclusion of technics and techniques from its metaphysical questionings, and in so doing to rescue critical and philosophical thinking. For many years, Stiegler has explored the origins and philosophical, ethical, and political stakes of a global process he calls "the industrial temporalization of consciousness." Here, demonstrating that technology—including alphabetical writing—is memory, he argues that through new technologies of retention and inscription we have come to live in a world where time devours space, a disoriented world in which we have lost our bearings. Immersed in the multimedia of an over-connected world, with time and space as we know them abolished, we no longer find "cardinal points" to guide us and may even be led where we do not wish to go. We must therefore prepare to confront new spheres of ideological control and discover new possibilities in the digital environment.

In the first two volumes of Technics and Time, Bernard Stiegler worked carefully through Heidegger's and Husserl's relationship to technics and technology. Here, in volume three, he turns his attention to the prolematic relationship to technics he finds in Kant's Critique of Pure Reason, particularly in the two versions of the Transcendental Deduction. Stiegler relates this problematic to the "cinematic nature" of time, which precedes cinema itself but reaches an apotheosis in it as the exteriorization process of schema, through tertiary retentions and their mechanisms. The book focuses on the relationship between these themes and the "culture industry"— as defined by Adorno and Horkheimer—that has supplanted the educational institutions on which genuine cultural participation depends. This displacement, Stiegler says, has produced a malaise from which current global culture suffers. The result is potentially catastrophic.

Radical Atheism presents a profound new reading of the influential French philosopher Jacques Derrida. Against the prevalent notion that there was an ethical or religious "turn" in Derrida's thinking, Hägglund argues that a radical atheism informs Derrida's work from beginning to end. Proceeding from Derrida's insight into the constitution of time, Hägglund demonstrates how Derrida rethinks the condition of identity, ethics, religion, and political emancipation in accordance with the logic of radical atheism. Hägglund challenges other major interpreters of Derrida's work and offers a compelling account of Derrida's thinking on life and death, good and evil, self and other. Furthermore, Hägglund does not only explicate Derrida's position but also develops his arguments, fortifies his logic, and pursues its implications. The result is a groundbreaking deconstruction of the perennial philosophical themes of time and desire as well as pressing contemporary issues of sovereignty and democracy.

Radical Atheism presents a profound new reading of the influential French philosopher Jacques Derrida. Against the prevalent notion that there was an ethical or religious "turn" in Derrida's thinking, Hägglund argues that a radical atheism informs Derrida's work from beginning to end. Proceeding from Derrida's insight into the constitution of time, Hägglund demonstrates how Derrida rethinks the condition of identity, ethics, religion, and political emancipation in accordance with the logic of radical atheism. Hägglund challenges other major interpreters of Derrida's work and offers a compelling account of Derrida's thinking on life and death, good and evil, self and other. Furthermore, Hägglund does not only explicate Derrida's position but also develops his arguments, fortifies his logic, and pursues its implications. The result is a groundbreaking deconstruction of the perennial philosophical themes of time and desire as well as pressing contemporary issues of sovereignty and democracy.

The Problem of a Chinese Aesthetic calls for and applies a new model of comparative literature - one that, instead of taking for granted the commensurability of traditions and texts, gives incompatibility and contradiction their due. Exposing contemporary literary theory to the risks of ancient Chinese literature (and vice versa), this book considers a linked series of case studies. To what degree does the translation between languages and texts that we call comparative literature depend on allegory or translation within a single text or language? The author offers an important, new perspective on the reading of the Shih-ching or Book of Odes and the question of allegory and metaphor in the Chinese poetic tradition.

A Stanford University Press classic.

Since Hegel, philosophy cannot stop thinking its end.The violent transformations which Hegel's philosophy has uncovered and caused in the structure of philosophical terms and in the terms under which philosophy is possible is Hamacher's topic. Starting from Hegel's commentaries on biblical scripture, Hamacher traces the genealogy and unfolding of Hegel's thought into his mature works—the Phenomenology of Spirit, the Encyclopedia, the Philosophy of History—focusing throughout on the limits and borders, the limitations and extremities of its conceptual and textual movements.Because the concept for Hegel is the end of the thing—the point where it peaks—because it occurs by severance from its representational content, the trace of this splitting appears imprinted into its discursive articulation. The Hegelian text is punctuated by a series of terms and topics that operate according to the logic of the turning point: one function activating its opposite, they serve as pores between mutually exclusive experiences and establish their unity. This dialectical procedure falters, its unity dissolves, the pores turn into aporias, wherever conceptual exigencies surpass the reality they have instilled. Hamacher shows that dialectics, proceeding by way of aporias, remains unable to account for its own movement. Hegel's system must be read from the point where its rupture fails to converge with its end.Analyzing both the historical and the systematic aspects of Hegel's philosophy, addressing Kant and religious fetishism, Nietzsche and the impossible repetition of the same, Marx and the aroma of religion, Freud and the hysterical body, Hamacher's argument is directed toward what in Hegel's philosophy of spirit resists spiritualization and defeats philosophy. Aspiring to be the last philosophy, speculative idealism has to incorporate all previous systems and spiritualize its incorporation. Its logic of ingestion must, however, reject with repulsion and nausea (Ekel) everything that resists appropriation.Emphasizing Hegel's claim to present the political theology of modern society, Hamacher shows that the mechanism of nausea meant to keep the system intact is in fact itself a mechanism foreign to its body; it averts the promised incorporation, defeats idealization, leaves the body politic disintegrated, and voids the claim of the most powerful ontology of modern society to mark the end, the completion and plenitude—the pleroma—of philosophy and history. What remains—the indigestible, the unreadable, the nondiscursive—demands yet another kind of discourse and another practical gesture: toward a pleroma other than Hegel's.

Since Hegel, philosophy cannot stop thinking its end.The violent transformations which Hegel's philosophy has uncovered and caused in the structure of philosophical terms and in the terms under which philosophy is possible is Hamacher's topic. Starting from Hegel's commentaries on biblical scripture, Hamacher traces the genealogy and unfolding of Hegel's thought into his mature works—the Phenomenology of Spirit, the Encyclopedia, the Philosophy of History—focusing throughout on the limits and borders, the limitations and extremities of its conceptual and textual movements.Because the concept for Hegel is the end of the thing—the point where it peaks—because it occurs by severance from its representational content, the trace of this splitting appears imprinted into its discursive articulation. The Hegelian text is punctuated by a series of terms and topics that operate according to the logic of the turning point: one function activating its opposite, they serve as pores between mutually exclusive experiences and establish their unity. This dialectical procedure falters, its unity dissolves, the pores turn into aporias, wherever conceptual exigencies surpass the reality they have instilled. Hamacher shows that dialectics, proceeding by way of aporias, remains unable to account for its own movement. Hegel's system must be read from the point where its rupture fails to converge with its end.Analyzing both the historical and the systematic aspects of Hegel's philosophy, addressing Kant and religious fetishism, Nietzsche and the impossible repetition of the same, Marx and the aroma of religion, Freud and the hysterical body, Hamacher's argument is directed toward what in Hegel's philosophy of spirit resists spiritualization and defeats philosophy. Aspiring to be the last philosophy, speculative idealism has to incorporate all previous systems and spiritualize its incorporation. Its logic of ingestion must, however, reject with repulsion and nausea (Ekel) everything that resists appropriation.Emphasizing Hegel's claim to present the political theology of modern society, Hamacher shows that the mechanism of nausea meant to keep the system intact is in fact itself a mechanism foreign to its body; it averts the promised incorporation, defeats idealization, leaves the body politic disintegrated, and voids the claim of the most powerful ontology of modern society to mark the end, the completion and plenitude—the pleroma—of philosophy and history. What remains—the indigestible, the unreadable, the nondiscursive—demands yet another kind of discourse and another practical gesture: toward a pleroma other than Hegel's.

The epoch of representation is as old as the West. Indeed, representation is the West, understood as what at once designates and expands its own limits. But what comes after the West? What comes after representation's disclosure of its own limit?The central problem posed in these essays, collected from over a decade of work, is how in the wake of Western ontologies to conceive the coming, the birth that characterizes being. We are now at the limit of representation, where objects as we experience them have been show to be merely objects of representation—or rather, of presentation, since there is nothing to (re)present. The first part of this book, "Existence," asks how, today, one can give sense of meaning to existence as such, arguing that existence itself, as it comes nude into the world, must now be our "sense."In examining what this birth to presence might be, we should not ask what presence "is"; rather we should conceive presence as presence to someone, including to presence itself. This birth is not the constitution of an identity, but the endless departure of an identity from, and from within, its other, or others. Its coming is not desire but jouissance, the joy of averring oneself to be continually in the state of being born—a rejoicing of birth, a birth of rejoicing.The second section, "Poetry," asks: What art exposes this? In writing, in the voice, in painting? And what if art is exposed to it? How does it inscribe (or rather, "exscribe," in a term the book develops) the coming existence as such? The author's trajectory in this book crosses those of Hegel, Schlegel, Baudelaire, Nietzsche, Freud, and Heidegger, in their comments on art and politics, existence and corporeality, everyday life and its modes of existence and ecstasy. An analysis that dares this crossing involves all the varied accounts of existence, political as well as philosophical, and all the realms of poverty.

This is the most systematic, the most radical, and the most lucid treatise on freedom that has been written in contemporary Continental philosophy. Finding its guiding motives in Kant's second Critique and working its way up to and beyond Heidegger and Adorno, this book marks the most advanced position in the thinking of freedom that has been proposed after Sartre and Levinas. One could call it a fundamental ontology of freedom if freedom, according to the author, did not entail liberation from foundational acts and the overcoming of any logic that determines the way ontology does, by positing being either as self-sufficient position or as subjected to strictly immanent laws.Once existence no longer offers itself as an empiricity that must be related to its conditions of possibility or sublated in a transcendence beyond itself, but instead as sheer factuality, we must think this fact, the fact of existence as the essence of itself, as freedom. The question is no longer "Why is there something rather than nothing?" Instead, it becomes "Why these very questions by which existence affirms itself and abandons itself in a single gesture?" If we do not think being itself as a freedom, we are condemned to think of freedom as pure "Idea" or "right," and being-in-the-world, in turn, as a blind and obtuse necessity. Since Kant, philosophy and our world have relentlessly confronted this scission.

One of the most influential philosophers of our day has selected 16 previously uncollected pieces that are unified by Levinas's project of revising the phenomenological description of the world in light of our experience of other persons.

"Chatter" cannot always be taken lightly, for the insignificance and insubstantiality of "idle talk," "prattle," "nonsense," and so forth challenge the very notions of substance and significance through which rational discourses seek justification. This book shows that in "chatter" Kierkegaard uncovered a specfically linguistic mode of negativity—not that of the Hegelian concept—became the medium in which a non-speculative and non-historicist presentation of history could be carried out.The author examines in detail those writings of Kierkegaard in which he undertook complex negotiations with the threat—and also the promise—of "chatter." One effect of these negotiations is revealed as an insistence on "existence," which alone could appear as a counterweight to the lightness and insubstantiality of mere language. The author's readings of both well-known and neglected works do not simply show how indirect communication affects this insistence on "existence"; they also show how the negation of direct communication (which in genderal makes reading necessary) undoes the distinctions through which weighty "existence" and insubstantial "chatter" are set apart.

Philosophical aesthetics has seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that some antinomies of aesthetic experience—and in particular of the limits of the aesthetical—can be viewed as a general, yet necessarily open model for human understanding. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed than the complex paragraphs modestly inserted into Kant's Critique of Judgment as sections 23-29: the Analytic of the Sublime.This book is a rigorous explication de texte, a close reading of these sections. First, Lyotard reconstitutes, following the letter of Kant's analysis, the philosophical context of his critical writings and of the European Enlightenment. Second, because the analytic of the sublime reveals the inability of aesthetic experience to bridge the separate realms of theoretical and practical reason, Lyotard can connect his reconstitution of Kant's critical project with today's debates about the very conditions—and limits—of presentation in general.Lyotard enables us to see the sublime as a model for reflexive thinking generally via his concept of the "differend," which emphasizes the inevitability of conflicts and incompatibilities between different notions and "phrases." The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus highlight the analysis of a "differend of feeling" in Kant's text, which is also the analysis of a "feeling of differend," and connect this feeling with the transport that leads all thought (critical thought included) to its limits.

Philosophical aesthetics has seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that some antinomies of aesthetic experience—and in particular of the limits of the aesthetical—can be viewed as a general, yet necessarily open model for human understanding. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed than the complex paragraphs modestly inserted into Kant's Critique of Judgment as sections 23-29: the Analytic of the Sublime.This book is a rigorous explication de texte, a close reading of these sections. First, Lyotard reconstitutes, following the letter of Kant's analysis, the philosophical context of his critical writings and of the European Enlightenment. Second, because the analytic of the sublime reveals the inability of aesthetic experience to bridge the separate realms of theoretical and practical reason, Lyotard can connect his reconstitution of Kant's critical project with today's debates about the very conditions—and limits—of presentation in general.Lyotard enables us to see the sublime as a model for reflexive thinking generally via his concept of the "differend," which emphasizes the inevitability of conflicts and incompatibilities between different notions and "phrases." The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus highlight the analysis of a "differend of feeling" in Kant's text, which is also the analysis of a "feeling of differend," and connect this feeling with the transport that leads all thought (critical thought included) to its limits.

"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.

This is a pioneering attempt to rearticulate the relationship between music and the problems of mimesis, between presentation and re-presentaion. Four "scenes" comprise the book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarme), two by German philosophers (Heidegger and Adorno).It is dificult to realize how profoundly Wagner affected the cultural and ideological sensibilities of the nineteenth century. Wagnerism rapidly spread throughout Europe, partly because of Wagner's propagandizing talent and the zeal of his adherents. But the main reason for his ascendance was the sudden appearance of what the century had desperately tried to produce since the beginnings of Romanticism - a work of art on the scale of great Greek and Christian art. At last, here it was: the secret of what Hegel called the "religion of art" rediscovered. The first two scenes of the book present a historical sequence that is punctuated by the Franco-Prussian War and the Paris Commune, in which the universal unbridling of nations and classes is prefigured. The second two register certain effects of Wagnerism that are not just ideological but make themselves felt in a new political configuration of the "national" and the "social."

A Stanford University Press classic.

A Stanford University Press classic.

This is a pioneering attempt to rearticulate the relationship between music and the problems of mimesis, between presentation and re-presentaion. Four "scenes" comprise the book, all four of them responses to Wagner: two by French poets (Baudelaire and Mallarme), two by German philosophers (Heidegger and Adorno).It is dificult to realize how profoundly Wagner affected the cultural and ideological sensibilities of the nineteenth century. Wagnerism rapidly spread throughout Europe, partly because of Wagner's propagandizing talent and the zeal of his adherents. But the main reason for his ascendance was the sudden appearance of what the century had desperately tried to produce since the beginnings of Romanticism - a work of art on the scale of great Greek and Christian art. At last, here it was: the secret of what Hegel called the "religion of art" rediscovered. The first two scenes of the book present a historical sequence that is punctuated by the Franco-Prussian War and the Paris Commune, in which the universal unbridling of nations and classes is prefigured. The second two register certain effects of Wagnerism that are not just ideological but make themselves felt in a new political configuration of the "national" and the "social."

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.

Since the middle of the twentieth century, Maurice Blanchot has been an extraordinarily influential figure on the French literary and cultural scene. He is arguably the key figure after Sartre in exploring the relation between literature and philosophy.Blanchot early developed a distinctive, limpid firm of essay writing, and, apart from his fiction, his main work has appeared as collections of essays. His essays, in form and substance, unmistakably left their imprint on the work of the most inluential of French theorists. The writings of Barthes, Foucault, and Derrida, for example, are hardly imaginable without Blanchot, and, indeed, all three have generously paid tribute to him.Published in French in 1949, The Work of Fire is a collection of 22 essays originally issued as review essays in literary journals. Certain themes return again and again: the relation of literature and language to death; the sigificance of repetition; the historical, personal, and social function of literature; and perhaps most important, simply the question, What is at stake in the fact that something such as art or literature exists?Within each essay, Blanchot raises anew these central themes in the context of a particular work or a particular author. He has read, it appears, practically everything, and an essay on a given writer or work will bristle with apposite references to other authors and works. Among the authors discussed in The Work of Fire are Kafka, Mallarme, Holderlin, Baudelaire, Rimbaud, Sartre, Gide, Pascal, Valery, Hemingway, Henry Miller, and such lesser figures as Benjamin Constant and Jean Paulhan. The essays demonstrate Blanchot's ability to pose the most lucid questions about the essence of literature while saying something new and probing about the author or work in question.

What does it mean to oppose AIDS, to be at odds with AIDS? What kind of rupture with history does AIDS represent? How does AIDS and what is said about AIDS relate to gay identity? How does AIDS relate to thinking and acting, particularly deconstructive thinking? The author confronts these questions from a broad philosophical background that ranges from Kant, Nietzsche, Kierkegaard, and Heidegger to contemporary thought concerning gay activism and AIDS research, all brought together in an effort to find a philosophical language capable of doing justice to the singularity of lived experience in the shadow of AIDS.In examining what AIDS reveals about the conditions of existence, García Düttmann develops the idea of the "dis-unity" or "at-odds-ness" of existence, of the "non-belonging" that characterizes the marginalized, outcast, or abandoned, and exposes human existence itself. He analyzes what AIDS reveals about the character of history through two intertwined issues. First, he examines arguments bearing on the epochal significance of AIDS, the idea that AIDS reveals something uniquely characteristic of our time, hence that the epidemic marks a historical caesura. Second, he develops a theory of historical witnessing suggesting that the phenomena of historical event and bearing witness are not at all separate, but instead are co-originary, inhering in the same complex.

What does it mean to oppose AIDS, to be at odds with AIDS? What kind of rupture with history does AIDS represent? How does AIDS and what is said about AIDS relate to gay identity? How does AIDS relate to thinking and acting, particularly deconstructive thinking? The author confronts these questions from a broad philosophical background that ranges from Kant, Nietzsche, Kierkegaard, and Heidegger to contemporary thought concerning gay activism and AIDS research, all brought together in an effort to find a philosophical language capable of doing justice to the singularity of lived experience in the shadow of AIDS.In examining what AIDS reveals about the conditions of existence, García Düttmann develops the idea of the "dis-unity" or "at-odds-ness" of existence, of the "non-belonging" that characterizes the marginalized, outcast, or abandoned, and exposes human existence itself. He analyzes what AIDS reveals about the character of history through two intertwined issues. First, he examines arguments bearing on the epochal significance of AIDS, the idea that AIDS reveals something uniquely characteristic of our time, hence that the epidemic marks a historical caesura. Second, he develops a theory of historical witnessing suggesting that the phenomena of historical event and bearing witness are not at all separate, but instead are co-originary, inhering in the same complex.

A Stanford University Press classic.

A Stanford University Press classic.

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.

Since the middle of the twentieth century, Maurice Blanchot has been an extraordinarily influential figure on the French literary and cultural scene. He is arguably the key figure after Sartre in exploring the relation between literature and philosophy.Blanchot early developed a distinctive, limpid firm of essay writing, and, apart from his fiction, his main work has appeared as collections of essays. His essays, in form and substance, unmistakably left their imprint on the work of the most inluential of French theorists. The writings of Barthes, Foucault, and Derrida, for example, are hardly imaginable without Blanchot, and, indeed, all three have generously paid tribute to him.Published in French in 1949, The Work of Fire is a collection of 22 essays originally issued as review essays in literary journals. Certain themes return again and again: the relation of literature and language to death; the sigificance of repetition; the historical, personal, and social function of literature; and perhaps most important, simply the question, What is at stake in the fact that something such as art or literature exists?Within each essay, Blanchot raises anew these central themes in the context of a particular work or a particular author. He has read, it appears, practically everything, and an essay on a given writer or work will bristle with apposite references to other authors and works. Among the authors discussed in The Work of Fire are Kafka, Mallarme, Holderlin, Baudelaire, Rimbaud, Sartre, Gide, Pascal, Valery, Hemingway, Henry Miller, and such lesser figures as Benjamin Constant and Jean Paulhan. The essays demonstrate Blanchot's ability to pose the most lucid questions about the essence of literature while saying something new and probing about the author or work in question.

"The name: What does one call thus? What does one understand under the name of name? And what occurs when one gies a name? What does one give then? One does not offer a thing, one delivers nothing, and still something comes to be, which comes down to giving that which one does not have, as Plotinus said of the Good. What happens, above all, when it is necessary to sur-name, renaming there where, precisely, the name comes to be found lacking? What makes the proper name into a sort of sur-name, pseudonym, or cryptonym at once singular and singularly untranslatable?"Jacques Derrida thus poses a central problem in contemporary language, ethics, and politics, which he addresses in a liked series of the three essays. Passions: "An Oblique Offering" is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding—which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised inevitably by a rigorous negative theology. Much of the text is organized around close readings of the poetry of Angelus Silesius.The final essay, Khora, explores the problem of space or spacing, of the word khora in Plato's Tmaeus. Even as it places and makes possible nothing less than the whole world, khora opens and dislocates, displaces, all the categories that govern the production of that world, from naming to gender. In addition to readers in philosophy and literature, Khora will be of special interest to those in the burgeoning field of "space studies"(architecture, urbanism, design).