Sartre on Sin: Between Being and Nothingness argues that Jean-Paul Sartre's early, anti-humanist philosophy is indebted to the Christian doctrine of original sin. On the standard reading, Sartre's most fundamental and attractive idea is freedom: he wished to demonstrate the existence of human freedom, and did so by connecting consciousness with nothingness. Focusing on Being and Nothingness, Kate Kirkpatrick demonstrates that Sartre's concept of nothingness (le neant) has a Christian genealogy which has been overlooked in philosophical and theological discussions of his work. Previous scholars have noted the resemblance between Sartre's and Augustine's ontologies: to name but one shared theme, both thinkers describe the human as the being through which nothingness enters the world. However, there has been no previous in-depth examination of this 'resemblance'. Using historical, exegetical, and conceptual methods, Kirkpatrick demonstrates that Sartre's intellectual formation prior to his discovery of phenomenology included theological elements-especially concerning the compatibility of freedom with sin and grace. After outlining the French Augustinianisms by which Sartre's account of the human as 'between being and nothingness' was informed, Kirkpatrick offers a close reading of Being and Nothingness which shows that the psychological, epistemological, and ethical consequences of Sartre's le neant closely resemble the consequences of its theological predecessor; and that his account of freedom can be read as an anti-theodicy. Sartre on Sin illustrates that Sartre' s insights are valuable resources for contemporary hamartiology.

Anthropologist Claude Levi-Strauss was among the most influential thinkers of the twentieth century. In this rigorous study, Maurice Godelier traces the evolution of his thought. Focusing primarily on Levi-Strauss's analysis of kinship and myth, Godelier provides an assessment of his intellectual achievements and legacy. Meticulously researched, Levi-Strauss is written in a clear and accessible style. The culmination of decades of engagement with Levi-Strauss's work, this book will prove indispensible to students of his thought and structural anthropology more generally.

The indebtedness of contemporary thinkers to Derrida's project of deconstruction is unquestionable, whether as a source of inspiration or the grounds of critical antagonism. This collection considers: how best to recall deconstruction? Rather than reduce it to an object of historical importance or memory, these essays analyze its significance in terms of complex matrices of desire; provoked in this way, deconstruction cannot be dismissed as 'dead', nor unproblematically defended as alive and well. Repositioned on the threshold of life-death, deconstruction profoundly complicates the field of critical thought which still struggles to memorialize, inter, or reduce the deconstructive corpus to ashes.

Why sexuality is at the point of a "short circuit" between ontology and epistemology. Consider sublimation-conventionally understood as a substitute satisfaction for missing sexual satisfaction. But what if, as Lacan claims, we can get exactly the same satisfaction that we get from sex from talking (or writing, painting, praying, or other activities)? The point is not to explain the satisfaction from talking by pointing to its sexual origin, but that the satisfaction from talking is itself sexual. The satisfaction from talking contains a key to sexual satisfaction (and not the other way around)-even a key to sexuality itself and its inherent contradictions. The Lacanian perspective would make the answer to the simple-seeming question, "What is sex?" rather more complex. In this volume in the Short Circuits series, Alenka Zupancic approaches the question from just this perspective, considering sexuality a properly philosophical problem for psychoanalysis; and by psychoanalysis, she means that of Freud and Lacan, not that of the kind of clinician practitioners called by Lacan "orthopedists of the unconscious." Zupancic argues that sexuality is at the point of a "short circuit" between ontology and epistemology. Sexuality and knowledge are structured around a fundamental negativity, which unites them at the point of the unconscious. The unconscious (as linked to sexuality) is the concept of an inherent link between being and knowledge in their very negativity.

Essays in Self-Criticism contains all of Louis Althusser's work from the 1970s. It is composed of three texts, each of which in a different way presents elements of self-criticism. The first is Althusser's extended reply to the English philosopher John Lewis. In it he for the first time discusses the problem of the political causes of Stalinism, which he argues should be seen as the consequence of a long tradition of economism within the Second and Third Internationals. The second major essay, written soon afterwards, sets out Althusser's critical assessment of his own philosophical work in the 60's, including the extent and limits of his 'flirtation' with structuralism. The book ends with an autobiographical study of Althusser's intellectual development from 1945 to 1975, given on the occasion of his reception of a doctorate at the University of Picardy. The political thought of the 'new' Althusser is presented to English readers in a special introduction by his pupil Grahame Lock, which considers at length the lessons it sees in Soviet experience for contemporary communism.

The debate over the place of religion in secular, democratic societies dominates philosophical and intellectual discourse. These arguments often polarize around simplistic reductions, making efforts at reconciliation impossible. Yet more rational stances do exist, positions that broker a peace between relativism and religion in people's public, private, and ethical lives.

"Christianity, Truth, and Weakening Faith" advances just such a dialogue, featuring the collaboration of two major philosophers known for their progressive approach to this issue. Seeking unity over difference, Gianni Vattimo and Ren? Girard turn to Max Weber, Eric Auerbach, and Marcel Gauchet, among others, in their exploration of truth and liberty, relativism and faith, and the tensions of a world filled with new forms of religiously inspired violence.

Vattimo and Girard ultimately conclude that secularism and the involvement (or lack thereof) of religion in governance are, in essence, produced by Christianity. In other words, Christianity is "the religion of the exit from religion," and democracy, civil rights, the free market, and individual freedoms are all facilitated by Christian culture. Through an exchange that is both intimate and enlightening, Vattimo and Girard share their unparalleled insight into the relationships among religion, modernity, and the role of Christianity, especially as it exists in our multicultural world.

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.

Levinas and Lacan, two giants of contemporary theory, represent schools of thought that seem poles apart. In this major new work, Mari Ruti charts the ethical terrain between them. At first glance, Levinansian and Lacanian approaches may seem more or less incompatible, and in many ways they are, particularly in their understanding of the self-other relationship. For both Levinas and Lacan, the subject's relationship to the other is primary in the sense that the subject, literally, does not exist without the other, but they see the challenge of ethics quite differently: while Levinas laments our failure to adequately meet the ethical demand arising from the other, Lacan laments the consequences of our failure to adequately escape the forms this demand frequently takes. Although this book outlines the major differences between Levinas and Judith Butler on the one hand and Lacan, Slavoj Zizek, and Alain Badiou on the other, Ruti proposes that underneath these differences one can discern a shared concern with the thorny relationship between the singularity of experience and the universality of ethics. Between Levinas and Lacan is an important new book for anyone interested in contemporary theory, ethics, psychoanalysis, and feminist and queer theory.

What has happened since de Man and Derrida first read Austin? How has the encounter between deconstruction and the performative affected each of these terms? In addressing these questions, this book brings together scholars whose works have been provoked in different ways by the encounter of deconstruction and the performative.Following Derrida's appeal to any rigorous deconstruction to reckon with Austin's theorems and his ever growing commitment to rethink and rewrite the performative and its multiple articulations, it is now urgent that we reflect upon the effects of a theoretical event that has profoundly marked the contemporary scene. The contributors to this book suggest various ways of re-reading the heritage and future of both deconstruction and the performative "after" their encounter, bringing into focus both the constitutive aporia of the performative "and" the role it plays within the deconstruction of the metaphysical tradition.

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.

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.

Philosophy, Myth and Epic Cinema looks at the power of cinema in creating ideas that inspire our culture. Sylvie Magerstadt discusses the relationship between art, illusion and reality, a theme that has been part of philosophical debate for centuries. She argues that with the increase in use of digital technologies in modern cinema, this debate has entered a new phase. She discusses the notion of illusions as a system of stories and values that inspire a culture similar to other grand narratives, such as mythology or religion. Cinema thus becomes the postmodern "mythmaking machine" par excellence in a world that finds it increasingly difficult to create unifying concepts and positive illusions that can inspire and give hope. The author draws on the work of Friedrich Nietzsche, Siegfried Kracauer, and Gilles Deleuze to demonstrate the relevance of continental philosophy to a reading of mainstream Hollywood cinema. The book argues that our longing for illusion is particularly strong in times of crisis, illustrated through an exploration of the recent revival of historic and epic myths in Hollywood cinema, including films such as Troy, The Lord of the Rings Trilogy, and Clash of the Titans.

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.

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.

In "Quantum Anthropologies," the renowned feminist theorist Vicki Kirby contends that some of the most provocative aspects of deconstruction have yet to be explored. Deconstruction's implications have been curtailed by the assumption that issues of textuality and representation are specific to the domain of culture. Revisiting Derrida's claim that there is "no outside of text," Kirby argues that theories of cultural construction developed since the linguistic turn have inadvertently reproduced the very binaries they intended to question, such as those between nature and culture, matter and ideation, and fact and value. Through new readings of Derrida, Husserl, Saussure, Butler, Irigaray, and Merleau-Ponty, Kirby exposes the limitations of theories that regard culture as a second-order system that cannot access--much less be--nature, body, and materiality. She suggests ways of reconceiving language and culture to enable a more materially implicated outcome, one that keeps alive the more counterintuitive and challenging aspects of poststructural criticism. By demonstrating how fields, including cybernetics, biology, forensics, mathematics, and physics, can be conceptualized in deconstructive terms, Kirby fundamentally rethinks deconstruction and its relevance to nature, embodiment, materialism, and science.

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.

"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.