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This collection of interviews, reflections, and creative criticism presents Christopher Norris's vigorous polemics with Hayden White, Michel Foucault, Jean Baudrillard, Jean-Francois Lyotard, Thomas Kuhn, Emmanuel Levinas, Pierre Bourdieu, Richard Rorty, and Stanley Fish. Alongside Norris's uncompromising critiques there emerge passages of close and careful reading of Jacques Derrida's texts, as he cites and reiterates Derrida's philosophical contexts in the works of Immanuel Kant, Gaston Bachelard, and Georges Canguilhem, and in the current discursive fields of epistemology and philosophy of science. The book also offers a coda of essays on Frank Kermode, Terry Eagleton, and Terence Hawkes. This collection, prefaced with the author's own academic memoir, provides an accessible and provocative introduction to Norris's critical thought, and highlights the wide range of his interests and philosophical engagements.

In Anteaesthetics, Rizvana Bradley begins from the proposition that blackness cannot be represented in modernity's aesthetic regime, but is nevertheless foundational to every representation. Troubling the idea that the aesthetic is sheltered from the antiblack terror that lies just beyond its sanctuary, Bradley insists that blackness cannot make a home within the aesthetic, yet is held as its threshold and aporia. The book problematizes the phenomenological and ontological conceits that underwrite the visual, sensual, and abstract logics of modernity. Moving across multiple histories and geographies, artistic mediums and forms, from nineteenth-century painting and early cinema, to the contemporary text-based works, video installations, and digital art of Glenn Ligon, Mickalene Thomas, and Sondra Perry, Bradley inaugurates a new method for interpretation—an ante-formalism which demonstrates how black art engages in the recursive deconstruction of the aesthetic forms that remain foundational to modernity. Foregrounding the negativity of black art, Bradley shows how each of these artists disclose the racialized contours of the body, form, and medium, even interrogating the form that is the world itself. Drawing from black critical theory, Continental philosophy, film and media studies, art history, and black feminist thought, Bradley explores artistic practices that inhabit the negative underside of form. Ultimately, Anteaesthetics asks us to think philosophically with black art, and with the philosophical invention black art necessarily undertakes.

This book is a profound and eagerly anticipated investigation into what is left of a monotheistic religious spirit?notably, a minimalist faith that is neither confessional nor credulous. Articulating this faith as works and as an objectless hope, Nancy deconstructs Christianity in search of the historical and reflective conditions that provided its initial energy. Working through Blanchot and Nietzsche, re-reading Heidegger and Derrida, Nancy turns to the Epistle of Saint James rather than those of Saint Paul, discerning in it the primitive essence of Christianity as hope. The ?religion that provided the exit from religion,? as he terms Christianity, consists in the announcement of an end. It is the announcement that counts, however, rather than any finality. In this announcement there is a proximity to others and to what was once called parousia. But parousia is no longer presence; it is no longer the return of the Messiah. Rather, it is what is near us and does not cease to open and to close, a presence deferred yet imminent.In a demystified age where we are left with a vision of a self-enclosed world?in which humans are no longer mortals facing an immortal being, but entities whose lives are accompanied by the time of their own decline?parousia stands as a question. Can we venture the risk of a decentered perspective, such that the meaning of the world can be found both inside and outside, within and without our so-immanent world?The deconstruction of Christianity that Nancy proposes is neither a game nor a strategy. It is an invitation to imagine a strange faith that enacts the inadequation of life to itself. Our lives overflow the self-contained boundaries of their biological and sociological interpretations. Out of this excess, wells up a fragile, overlooked meaning that is beyond both confessionalism and humanism.

This important new book argues that Jacques Derrida's work can be treated as the basis for a distinctive historiography.The possibility of seeing Derrida not as a philosopher of language but as a philosopher of history has become more apparent with the recent publication of Derrida's 1964-1965 seminar Heidegger: The Question of Being and History.

„Guiding principles“ as topoi in German juridical discourse are mainly analyzed with regard to their relation to familiar dogmatic and methodological categories. This article suggests engaging with a deconstructing, psychoanalysis-inspired approach to the guiding principles of legal discourse.

In diesem Beitrag befassen wir uns mit sozialer Arbeit jenseits des dänischen Mainstreams. Leitend ist, in welcher Weise ein von uns so benannter performativer Ansatz sowohl im Falle praktischer Sozialarbeit als auch im Falle von Forschung zum Verstehen von Dekonstruktion beitragen kann. Kritische Performativität bedeutet für uns, dass wir über die negativen Momente von Dekonstruktion hinausgehen, in denen lediglich festgemacht wird, wer Nicht-Klient/innen, Nicht-Psycholog/innen, Nicht-Weisungsberechtigte sind, und stattdessen potenzielle andere in ihrer Komplexität entlang positiver Zuschreibungen definieren. Wir bezeichnen diese anderen als transformative Nutzer/innen, d.h. Nutzer/innen, die an der Produktion derjenigen Standards teilhaben, entlang derer sie ihr Leben führen. Dies setzt voraus, dass wir uns nicht nur mit den jeweiligen Subjekten befassen, sondern auch mit den Kollektiven, aus denen heraus Standards gebildet werden. Und wir wenden uns schließlich uns selbst zu, unserer Zusammenarbeit in der Forschung und beim Schreiben dieses Textes in einem performativen Prozess.

Die in diesem Band versammelten Texte kreisen aus unterschiedlichen Perspektiven um die philosophische Dimension der Globalisierung, der dominierenden geopolitischen Entwicklung unserer Zeit.

Poetik der Unverständlichkeit liest literarische Schreibweisen der Unverständlichkeit als Ausdruck eines prekär gewordenen Weltverhältnisses.In vier exemplarischen Lektüren wird die Konstellation zwischen Text- und Weltverstehen bei Autoren aus dem 16.bis zum 20.

This collection gathers essays written by Geoffrey Bennington since the death of Jacques Derrida. It continues the ongoing work of elucidating difficult and complex thoughts, often enough with reference to Derrida's persistent interrogation of the concepts of life and death, mourning and melancholia and what he calls 'half-mourning'.