In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Momo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida ...will present a lecture about Artaud's drawings." For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.

Post-Rationalism takes the experimental journal of psychoanalysis and philosophy, Cahiers pour l'Analyse, as its main source. Established by students of Louis Althusser in 1966, the journal has rarely figured in the literature, although it contained the first published work of authors now famous in contemporary critical thought, including Alain Badiou, Jean-Claude Milner, Luce Irigaray, Andre Green and Jacques-Alain Miller. The Cahiers served as a testing ground for the combination of diverse intellectual sources indicative of the period, including the influential reinvention of Freud and Marx undertaken by Lacan and Althusser, and the earlier post-rationalist philosophy of science pioneered by Gaston Bachelard, Georges Canguilhem and Alexandre Koyre. This book is a wide-ranging analysis of the intellectual foundations of structuralism, re-connecting the work of young post-Lacanian and post-Althusserian theorists with their predecessors in French philosophy of science. Tom Eyers provides an important corrective to standard histories of the period, focussing on the ways in which French epistemological writing of the 1930s and 1940s - especially that of Bachelard and Canguilhem - laid the ground for the emergence of structuralism in the 1950s and 1960s, thus questioning the standard historical narrative that posits structuralism as emerging chiefly in reaction to phenomenology and existentialism.

Derrida and the Future of the Liberal Arts highlights the Derridean assertion that the university must exist 'without condition' - as a bastion of intellectual freedom and oppositional activity whose job it is to question mainstream society. Derrida argued that only if the life of the mind is kept free from excessive corporate influence and political control can we be certain that the basic tenets of democracy are being respected within the very societies that claim to defend democratic principles. This collection contains eleven essays drawn from international scholars working in both the humanities and social sciences, and makes a well-grounded and comprehensive case for the importance of Derridean thought within the liberal arts today. Written by specialists in the fields of philosophy, literature, history, sociology, geography, political science, animal studies, and gender studies, each essay traces deconstruction's contribution to their discipline, explaining how it helps keep alive the 'unconditional', contrapuntal mission of the university. The book offers a forceful and persuasive corrective to the current assault on the liberal arts.

Theories of justice often fixate on purely normative, abstract principles unrelated to real-world applications. The philosopher and theorist Axel Honneth addresses this disconnect, constructing a theory of justice derived from the normative claims of Western liberal-democratic societies and anchored in the law and institutionally established practices that possess moral legitimacy. Termed a democratic ethical life, Honneth's paradigm draws on the spirit of Hegel's Philosophy of Right and his own theory of recognition, demonstrating how concrete social spheres generate the principles of individual freedom and a standard for what is just. Using social analysis to re-found a more grounded theory of justice, Honneth argues that all crucial actions in Western civilization, whether in personal relationships, market-induced economic activities, or the public forum of politics, share one defining characteristic: they require the realization of a particular aspect of individual freedom. This fundamental truth, Honneth shows, informs the guiding principles of justice, enabling a wide-ranging reconsideration of its theory.

Cybernetic Revelation explores the dual philosophical histories of deconstruction and artificial intelligence, tracing the development of concepts like the "logos" and the notion of modeling the mind technologically from pre-history to contemporary thinkers like Slavoj i ek, Steven Pinker, Bernard Stiegler and Daniel C. Dennett. The writing is clear and accessible throughout, yet the text probes deeply into major philosophers seen by JD Casten as "conceptual engineers."

Michel Foucault once expressed his disagreement with the "breach" between social history and the history of ideas brought about by the assumption that the former is concerned with how people act without thinking, while the latter analyses how people think without acting. "People both think and act," he says, by way of a sarcasm consisting in having to point out the obvious. While in complete agreement with Foucault on this as on several other issues, the author of this book chooses to emphasise another "obviousness" of at least equal importance: that thoughts and (material) actions may well be inseparable in all fields of human/social existence, but they are not the same thing. The maintenance of the distinction between subjectivity/conceptuality on one hand and objectivity /materiality on the other constitutes a fundamental premise for the book's two closely interrelated goals: to criticise certain extremely influential currents of contemporary thought more or less loosely associated with "poststructuralism" and/or "postmodernism" which, each in its own fashion, have served to undermine this distinction; and to provide a philosophical /theoretical grounding for the methodology of the social sciences known as "discourse analysis." The importance of the latter is shown to consist in forming a methodological framework for a materialist critique that would escape both the economic reductionism of Marxism and the implicit (or manifest) idealism pertaining to all variations of Hegelianism.

Jacques Derrida's final seminars were devoted to animal life and political sovereignty-the connection being that animals slavishly adhere to the law while kings and gods tower above it and that this relationship reveals much about humanity in the West. David Farrell Krell offers a detailed account of these seminars, placing them in the context of Derrida's late work and his critique of Heidegger. Krell focuses his discussion on questions such as death, language, and animality. He concludes that Heidegger and Derrida share a commitment to finding new ways of speaking and thinking about human and animal life. -- Indiana University Press

Derrida wrote a vast number of texts for particular events across the world, as well as a series of works that portray him as a voyager. As an Algerian emigre, a postcolonial outsider, and an idiomatic writer who felt tied to a language that was not his own, and as a figure obsessed by the singularity of the literary or philosophical event, Derrida emerges as one whose thought always arrives on occasion. But how are we to understand the event in Derrida? Is there a risk that such stories of Derrida's work tend to misunderstand the essential unpredictability at work in the conditions of his thought? And how are we to reconcile the importance in Derrida of the unknowable event, the pull of the singular, with deconstruction's critical and philosophical rigour and its claims to rethink more systematically the ethico-political field. This book argues that this negotiation in fact allows deconstruction to reformulate the very questions that we associate with ethical and political responsibility and shows this to be the central interest in Derrida's work.

"Modern/Postmodern: Society, Philosophy, Literature" offers new definitions of modernism and postmodernism by presenting an original theoretical system of thought that explains the differences between these two key movements. Taking a contrastive approach, Peter V. Zima identifies three key concepts in the relationship between modernism and postmodernism - ambiguity, ambivalence and indifference.
Zima defines modernism and postmodernism as problematics, as opposed to aesthetics, stylistics or ideologies. Unlike modernism, which is grounded in an increasing ambivalence towards social norms and values, postmodernity is presented as an era of indifference, i.e. of interchangeable norms, values and perspectives.
Taking an historical, interdisciplinary and intercultural approach that engages with Anglo-American and European debates, the book describes the transition from late modernist ambivalence to postmodern indifference in the contexts of philosophy, literature and sociology. This is the ideal guide to the relationship between modernism and postmodernism for students and scholars throughout the humanities.

In this research, the author analyzes Derrida's understanding of the way society is created out of a collection of individuals, how the individuals preserve their singularity and freedom within a social system and the meaning of ethics, as it comes out in his early writings. In this work, the researcher used a phenomenological method of research and Cassirer's way of analyzing the symbolic forms as a framework to analyze the early writing of Derrida. Although it is not a common approach to combine Derrida's philosophy with that of Cassirer's, the researcher found that Cassirer's ideas help to show Derrida's unique position.

An ambitious theoretical work that ranges from the age of Socrates to the late twentieth century, this book traces the development of the concepts of irony within the history of Western literary criticism. Its purpose is not to promote a universal definition of irony, whether traditional or revisionist, but to examine how such definitions were created in critical history and what their use and invocation imply.
Joseph A. Dane argues that the diverse, supposed forms of irony--Socratic, rhetorical, romantic, dramatic, to name a few--are not so much literary elements embedded in texts, awaiting discovery by critics, as they are notions used by critics of different eras and persuasions to manipulate those texts in various, often self-serving ways. The history of irony, Dane suggests, runs parallel to the history of criticism, and the changing definitions of irony reflect the changing ways in which readers and critics have defined their own roles in relation to literature.
Probing and provocative, "The Critical Mythology of Irony" will appeal to a broad spectrum of critics and scholars, particularly those concerned with the historical basis of critical language and its political and educational implications.

In a world where the acceptance of relativism has caused erosion in the tradition of Cartesian dualism, representationalism in the arts has come under serious questioning. The contributors to this book seek new standards for defining and evaluating works of art.

"Relativism in the Arts" brings together thinkers in the fields of music, art criticism, literary criticism, philosophy, and the "history of consciousness" to confront the problems of relativist aesthetics. Their essays range from theoretical discussions of the definition of art in our times to close examinations of particular artworks or art forms. The introduction by Betty Jean Craige presents reasons for the cultural self-reflectivity that gives rise to the peculiarities of modern art.

This is a fascinating examination of the relation between absence and chance in Derrida's work and through that a re-examination of the relation between war and literature. "Derrida, Literature and War" argues for the importance of the relation between absence and chance in Derrida's work in thinking today about war and literature. Sean Gaston starts by marking Derrida's attempts to resist the philosophical tradition of calculating on absence as an assured resource, while insisting on the (mis)chances of the chance encounter. Gaston re-examines the relation between the concept of war and the chances of literature by focusing on narratives of conflict set during the Napoleonic wars. These chance encounters or duels can help us think again about the sovereign attempt to leave the enemy nameless or to name what cannot be named in the midst of wars without end. His study includes new readings of a range of writers, including Aristotle, Hume, Rousseau, Schiller, Clausewitz, Thackeray, Tolstoy, Conrad, Freud, Heidegger, Blanchot, Foucault, Deleuze and Agamben. Offering an authoritative reading of Derrida's oeuvre and new insights into a range of writers in philosophy and literature, this is a timely and ambitious study of philosophy, literature, politics and ethics. "The Philosophy, Aesthetics and Cultural Theory" series examines the encounter between contemporary Continental philosophy and aesthetic and cultural theory. Each book in the series explores an exciting new direction in philosophical aesthetics or cultural theory, identifying the most important and pressing issues in Continental philosophy today.

"Art as Far as the Eye Can See" puts art back where it matters -- at the center of politics. Art used to be an engagement between artist and materials but it has now become technologized. Its materials have become light rather than matter. In the 21st Century the new battleground is art as light versus art as matter. Virilio argues that this change reflects how speed and politics - the defining characteristics of the 20th Century - have been transformed in the 21st Century to speed and mass culture. Politics has been replaced with mass culture...and the defining characteristic of mass culture today is cold panic. The same panic which has used terrorism to derail democracy has hijacked the whole art enterprise. This panic is reliant on audio-visual technology to create a new all-seeing, panoptic politics. And the first casualty of this politics is "the art of seeing." Where art used to talk of the aesthetics of disappearance, it must now confront the disappearance of the aesthetic. In the 21st Century, the new battleground is art as light versus art as matter.

The final major work by one of the most influential thinkers of the twentieth century Foucault's History of Sexuality changed the way we think about power, selfhood and sexuality forever. Arguing that sexuality is profoundly shaped by the power structures applied to it, the series is one of his most important and far-reaching works. In this fourth and final volume, Foucault turns his attention to early Christianity, exploring how ancient ideas of pleasure were modified into the Christian notion of the 'flesh' - a transformation that would define the Western experience of sexuality and subjectivity. Completed at Foucault's death, the manuscript of this volume was locked away in a bank vault for three decades. Now for the first time, the work is available to English-language readers as the author originally conceived it.

The work of Jacques Derrida has been of singular importance in the development of contemporary political theory and political philosophy, being a major influence and inspiration to Slavoj Zizek, Richard Rorty, Ernesto Laclau, Judith Butler and many more contemporary thinkers. This text brings together a truly first class line up of Derrida scholars who are developing a deconstructive approach to politics. Deconstruction is an immanent critique, looking at the internal logic of any given text or discourse, revealing how particular concepts are established as authoritative principles through a variety of textual and rhetorical devices. A deconstructive reading would then expose how an apparently authoritative concept, when looked at closely, is contradictory and contingent on a host of external relations - with the effect of undermining the force of the text or discourse from which the concept originates. Such a critical method has proved revolutionary in much political analysis, particularly ideology critique.

No democracy without deconstruction. Deconstruction and Democracy evaluates and substantiates Derrida's provocative claim, assessing the importance of this influential and controversial contemporary philosopher's work for political thought. Derrida addressed political questions more and more explicitly in his writing, yet there is still confusion over the politics of deconstruction. Alex Thomson argues for a fresh understanding of Derrida's work, which acknowledges both the political dimension of deconstruction and its potential contribution to our thinking about politics. The book provides cogent analysis and exegesis of Derrida's political writings; explores the implications for political theory and practice of Derrida's work; and brings Derrida's work into dialogue with other major strands of contemporary political thought. Deconstruction and Democracy is the clearest and most detailed engagement available with the politics of deconstruction, and is a major contribution to scholarship on the later works of Jacques Derrida, most notably his Politics of Friendship.

At a 1966 international symposium hosted by the Johns Hopkins University, many of the leading figures of European structuralist criticism first presented their ideas to the American academic community. The proceedings of this event--which proved epoch-making on both sides of the Atlantic--were first published by the Johns Hopkins University Press in 1970 and are now available once again, with a reflective new preface by editor and symposium convener Richard Macksey.

Explorations of Deleuze's work by pioneering thinkers from philosophy, aesthetics, music, and architecture. A collection of explorations of the work of Gilles Deleuze by pioneering thinkers in the fields of philosophy, aesthetics, music, and architecture. The volume also includes a previously untranslated early text by Deleuze and a short interview, along with a fascinating piece of vintage science fiction from one of his more obscure influences. The contributors to this volume aim to clarify, from a variety of perspectives, Deleuze's contribution to philosophy: in what does his philosophical originality lie; what does he appropriate from other philosophers and how does he transform it? And how can the apparently disparate threads of his work to be "integrated"-What is the precise nature of the constellation of the aesthetic, the conceptual and the political proposed by Gilles Deleuze, and what are the overarching problems in which the numerous philosophical concepts "signed Deleuze" converge? As an annex to the second volume of Collapse, this volume also include a full transcript of the workshop on "Speculative Realism" held in London in 2007.

Globalization and consumerism are two of the buzzwords of the early twenty-first century. In Consuming Cultures, renowned scholars explore the links between modernity and consumption. The book fills a gap in contemporary thinking on the subject by approaching it from a truly global point-of-view. It draws on case studies from around the world, with Africa, Asia and Central America featuring as prominently as Western countries. A transnational perspective allows the authors to investigate the diversity of consumer cultures and the interaction between them. The authors look at the genealogy of the modern consumer and the development of consumer cultures, from the porcelain trade and consumption in Britain and China in the seventeenth and eighteenth centuries, to post Second World War developments in America and Japan, and the contemporary consumer politics of cosmopolitan citizenship. Challenging and pioneering, Consuming Cultures problematizes popular accounts of globalization and consumerism, decentring the West and concentrating on putting history back into these accounts.

Essential reading for scholars and students in critical theory, psychoanalysis, and gender studies.
How does the self care for itself in the posthumanist era? What psychic processes might allow the postmodern subject to find meaning and value in its life? Is it possible to delineate a theory of psychic potentiality that is compatible with poststructuralist models of fluid, decentered, and polyvalent subjectivity?
"Reinventing the Soul" offers a new perspective on what it means to be a human being and to strive in the world despite the wounding effects of the socialization process. Drawing on the rich legacies of French poststructuralism and Lacanian psychoanalysis, Ruti builds an affirmative alternative to the post-Foucaultian tendency to envision subjectivity as a function of hegemonic systems of power. She proposes that the subject's encounter with the world also necessarily activates the psyche's innovative potential. By focusing on matters of creative agency, imaginative empowerment, inner metamorphosis, and self-actualization, Ruti outlines some of the mechanisms by which the psyche manages not only to survive its lack, alienation, or suffering, but also to transform its abjection into an existentially livable reality. Central to Ruti's argument is the idea that human beings relate to the world in active rather than merely passive ways--as dynamic creators of meaning rather than as powerless dupes of disciplinary power.

Desde sus inicios, los estudios feministas se han caracterizado por el cruce fecundo de disciplinas intelectuales diversas, un analisis critico de la codificacion patriarcal de los saberes recibidos y la apuesta por el desarrollo de un proyecto politico. Un envite que Rosi Braidotti retoma con nuevo vigor en este ambicioso libro. La autora arranca de su concepcion filosofica de la diferencia sexual elaborada a traves de la discusion con la obra de Gilles Deleuze y Luce Irigaray. A partir de este paradigma, enjuicia severamente tanto las lecturas mas complacientes y mutiladoras que se hacen de estos autores como toda una serie de conceptos fraguados en la celebracion posmoderna de la disolucion del sujeto, la ausencia de certezas absolutas, la idealizacion de las transformaciones provocadas por el desarrollo de las nuevas tecnologias y la fuga aparente de los dualismos. Su objetivo es encontrar representaciones y figuraciones que realmente sirvan para transformar la realidad social en vez de contentarse con las fragiles apariencias y celebraciones gratuitas de la critica cultural posmoderna. En "Metamorfosis," la etica, la sexualidad, la tecnologia, la carne, la sostenibilidad, el deseo y la especificidad historica son los vectores del devenir del sujeto politico en los albores del milenio.

Sensitive to the discontinuities in Foucault's thought, neither critical nor slavishly devotional, On the Use and Abuse of Foucault for Politics demonstrates how Foucault is relevant for contemporary democratic theory. Beginning with a discussion of the interrelated ideas of power and resistance, Brent Pickett provides an interpretation of Foucault's political philosophy, including a comprehensive overview of the reasons for various conflicting interpretations, and then explores how well the different "Foucaults" can be used in progressive politics. Accessible and insightful, On the Use and Abuse of Foucault for Politics is valuable for specialists in Foucault and for students of postmodern and democratic theory alike.