"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

Although this book is a study of the work of Emmanuel Levinas and Jacques Derrida, it would be mistaken to refer to it as a comparison. The book develops a framework which might aide the reader of Levinas and Derrida in determining the scope and significance of their respective projects as far as a discourse of the sacred is concerned. It does so by emphasizing their status as philosophers whose thought correlates but does not compare. Within this correlation, without obscuring either their differences or similarities, we can see a common framework that consists of the following elements. First, it is clear from what and how Derrida and Levinas have written that the general import of their work lies in the area of ethics. However, in many ways it would be justifiable to say that their work is not about ethics at all. Neither of them proposes a moral theory; neither is interested in discussing the question of values vs. social norms, duty vs. virtue and other issues that might pertain to the area of ethics. To be sure, these issues do come up in their work, yet they are treated in a peculiarly different way. For Derrida and Levinas, ethics is not so much an inquiry into the problems of right and wrong but an inquiry into the problem of the ethical constitutedness of human beings.

Pursuing Jacques Derrida's reflections on the possibility of "religion without religion," John Llewelyn makes room for a sense of the religious that does not depend on the religions or traditional notions of God or gods. Beginning with Derrida's statement that it was Kierkegaard to whom he remained most faithful, Llewelyn reads Kant, Hegel, Nietzsche, Feuerbach, Heidegger, Sartre, Levinas, Deleuze, Marion, as well as Kierkegaard and Derrida, in original and compelling ways. Llewelyn puts religiousness in vital touch with the struggles of the human condition, finding religious space in the margins between the secular and the religions, transcendence and immanence, faith and knowledge, affirmation and despair, lucidity and madness. This provocative and philosophically rich account shows why and where the religious matters.

This study allies Nietzsche with the hermeneutic tradition, arguing that a tension in his diverse remarks on interpretation anticipates the hermeneutic pluralist alternative to Heidegger and deconstruction.

The death of Edmond Jabès in January 1991 silenced one of the most compelling voices of the postmodern, post-Holocaust era. Jabès's importance as a thinker, philosopher, and Jewish theologian cannot be overestimated, and his enigmatic style—combining aphorism, fictional dialogue, prose meditation, poetry, and other forms—holds special appeal for postmodern sensibilities. In The Book of Margins, his most critical as well as most accessible book, Jabès is again concerned with the questions that inform all of his work: the nature of writing, of silence, of God and the Book. Jabès considers the work of several of his contemporaries, including Georges Bataille, Maurice Blanchot, Roger Caillois, Paul Celan, Jacques Derrida, Michel Leiris, Emmanuel Lévinas, Pier Paolo Pasolini, and his translator, Rosmarie Waldrop. This book will be important reading for students of Jewish literature, French literature, and literature of the modern and postmodern ages. Born in Cairo in 1912, Edmond Jabès lived in France from 1956 until his death in 1991. His extensively translated and widely honored works include The Book of Questions and The Book of Shares. Both of these were translated into English by Rosmarie Waldrop, who is also a poet. Religion and Postmodernism series

The book offers a new introduction to Jacques Derrida and to Deconstruction as an important strand of Continental Philosophy. From his early writings on phenomenology and linguistics to his later meditations on war, terrorism, and justice, Jacques Derrida (1930–2004) achieved prominence on an international scale by addressing as many different audiences as he did topics. Yet despite widespread acclamation, his work has never been considered easy. Rendering accessible debates that marked more than four decades of engagement and inquiry, Susanne Lüdemann traces connections between the philosopher's own texts and those of his many interlocutors, past and present. Unlike conventional introductions, Politics of Deconstruction offers a number of personal approaches to reading Derrida and invites readers to find their own. Emphasizing the relationship between philosophy and politics, it shows that, with Deconstruction, there is much more at stake than an "academic" discussion, for Derrida's work deals with all the burning political and intellectual challenges of our time. The author's own professional experience in both the United States and in Europe, which particularly inform her chapter on Derrida's reception in the United States, opens a unique perspective on a unique thinker, one that rewards specialists and newcomers alike.

As the spell of Jacques Derrida grows stronger, with more translations and analyses appearing every season, it is possible--and necessary--to determine what in his work is truly new and what continues philosophical and literary traditions. Although Martin Heidegger ahs been mentioned before as a precursor of deconstruction, Herman Rapaport is the first to develop the connections between the writings of the German philosopher and Derrida. Heidegger and Derrida discusses the French philosopher's adoption of certain Heideggerean themes and his extension or overturning of them. But Rapaport does more than show how deconstruction builds on the philosophical foundations laid by Heidegger (and also by Hegel, Nietzsche, and Freud). In the most comprehensive study of Derrida's works to date, he tackles the problem of writing an intellectual history about a figure who has put into question the possibility of such a construction and acknowledges Derrida's concerns with Jewish history in relation to Western thought.

The title of this book is inspired by Jacques Derrida and by his seminal work, The Margins of Philosophy. The study of meaning in the past thirty years has focused on core meaning, and largely ignored the margins of meaning, where much of the power of language is to be found. The present work seeks to shift this focus by taking a postmodern approach that sees meaning as an accretion of verbal, social, cultural and personal sign systems, with fluid boundaries that shrink or expand with each meaner. Chapter 1 begins with a brief examination of present-day approaches to meaning, and goes on to a deconstruction of four twentieth century linguists. Chapter 2 takes as its starting point two aspects of the 20th century scientific paradigm, non-deterministic causation and relativity, and considers a number of thinkers who have worked within this paradigm. A major aim of this work is to convince students and teachers of literary theory, cultural studies and feminist theory of the validity of a linguistics of indeterminacy, so Chapter 3 focuses on an analytical approach that models indeterminacy in language, and Chapter 4 applies the model to a newspaper editorial, a Wallace Stevens' poem, and an extract from a Patrick White novel.

The contemporary idea of the “work of art” is paradoxically both widely used and often unexamined. Therefore, we must re-evaluate the concept before we can understand what the deconstruction of aesthetics means for thinkers like Jacques Derrida, Jean-Luc Nancy, and Philippe Lacoue-Labarthe. By examining their analyses of works of visual art and contextualizing their thinking on the matter, Martta Heikkilä asserts that the implications of the “work of art,” “art,” and “the aesthetic” apply not only to philosophical questions but also to a broader area. Instead of the totality represented by the historical concept of Art, poststructuralist thinkers introduce the idea of the radical multiplicity of art and its works. From this notion arises the fundamental issue in Derrida and the poststructuralist tradition: how can we speak philosophically of art, which always exists as singular instances, as works? In Deconstruction and the Work of Art: Visual Arts and Their Critique in Contemporary French Thought, Heikkilä shows that the deconstructionist notions of art are still influential in the discourses of contemporary art, in which artworks proliferate and the concept of “work” is open-ended and expanding. This book offers an introduction to the deconstructionist theory of art and brings new perspectives to the complex, undecidable relation between philosophy and art.