In this groundbreaking work, the author effects the first extended rhetorical-philosophical reading of the historically problematic relationship between Jews and Germans, based on an analysis of texts from the Enlightenment through Modernism by Moses Mendelssohn, Friedrich and Dorothea Schlegel, Karl Marx, Richard Wagner, Friedrich Nietzsche, and Sigmund Freud. The theoretical underpinning of the work lies in the author's rereading, in terms of contemporary rhetorical theory, of the medieval tradition known as "figural representation," which defines the Jewish-Christian relation as that between the dead, prefigural letter and the living, fulfilled spirit.
After arguing that the German Enlightenment ultimately plays out the historical phantasm of a necessary "Judaization" of Protestant rationality, the author shows that German Early Romanticism consists fundamentally in the attempt to solve the aporias raised by this impossible confrontation between Protestant spirit and Jewish letter. In readings of Dorothea Schlegel--Mendelssohn's daughter--and her husband Friedrich Schlegel, the author provides a new interpretation of the Neo-Catholic turn of later German Romanticism. Further, he situates the proleptic end and reversal of the project of Jewish emancipation in the two extreme versions of late-nineteenth-century anti-Judaism, those of Marx and Wagner, here viewed as binary concretizations of a specifically post-Romantic paganized Protestantism.
Finally, the author argues that twentieth-century Modernism as represented by Nietzsche and Freud renews, if in a multiply ironic displacement, the secret "Judaizing" tendencies of the Enlightenment. Fascism and Communism both denigrate this Modernism, which affirms the letter of language as quasi-synonymous with the force of temporality--or anticipatory repetition--that disrupts all claims to the full presence of spirit. The book ends with a note on recent debates about Holocaust memory.

This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. To Nancy, the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which Nancy considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction by Jeffrey Librett, which places Nancy's work within the range of thinking of aesthetics and the subject, from religion, to aesthetics, to psychoanalysis. Though undergirded by a powerful grasp of the philosophical and psychoanalytic tradition that has rendered our sense of the subject so problematic, Nancy's book is at heart a delightful, unpretentious reading of three dozen portraits, from ancient drinking mugs to recent experimental or parodic pieces in which the artistic representation of a sitter is made from their blood, germ cultures, or DNA. The contemporary world of ubiquitous photos, Nancy argues, in no way makes the portrait a thing of the past. On the contrary, the forms of appearing that mark the portrait continue to challenge how we see the bodies and representations that dominate our world.

Orientalism and the Figure of the Jew proposes a new way of understanding modern Orientalism. Tracing a path of modern Orientalist thought in German across crucial writings from the late eighteenth to the mid twentieth centuries, Librett argues that Orientalism and anti-Judaism are inextricably entangled.
Librett suggests, further, that the Western assertion of "material " power, in terms of which Orientalism is often read, is overdetermined by a "spiritual" weakness: an anxiety about the absence of absolute foundations and values that coincides with Western modernity itself. The modern West, he shows, posits an Oriental origin as a fetish to fill the absent place of lacking foundations. This fetish is appropriated as Western through a quasi-secularized application of Christian typology. Further, the Western appropriation of the "good" Orient always leaves behind the remainder of the "bad," inassimilable Orient.
The book traces variations on this theme through historicist and idealist texts of the nineteenth century and then shows how high modernists like Buber, Kafka, Mann, and Freud place this historicist narrative in question. The book concludes with the outlines of a cultural historiography that would distance itself from the metaphysics of historicism, confronting instead its underlying anxieties.

Orientalism and the Figure of the Jew proposes a new way of understanding modern Orientalism. Tracing a path of modern Orientalist thought in German across crucial writings from the late eighteenth to the mid–twentieth centuries, Librett argues that Orientalism and anti-Judaism are inextricably entangled. Librett suggests, further, that the Western assertion of “material” power, in terms of which Orientalism is often read, is overdetermined by a “spiritual” weakness: an anxiety about the absence of absolute foundations and values that coincides with Western modernity itself. The modern West, he shows, posits an Oriental origin as a fetish to fill the absent place of lacking foundations. This fetish is appropriated as Western through a quasi-secularized application of Christian typology. Further, the Western appropriation of the “good” Orient always leaves behind the remainder of the “bad,” inassimilable Orient. The book traces variations on this theme through historicist and idealist texts of the nineteenth century and then shows how high modernists like Buber, Kafka, Mann, and Freud place this historicist narrative in question. The book concludes with the outlines of a cultural historiography that would distance itself from the metaphysics of historicism, confronting instead its underlying anxieties.

This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. To Nancy, the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which Nancy considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction by Jeffrey Librett, which places Nancy's work within the range of thinking of aesthetics and the subject, from religion, to aesthetics, to psychoanalysis. Though undergirded by a powerful grasp of the philosophical and psychoanalytic tradition that has rendered our sense of the subject so problematic, Nancy's book is at heart a delightful, unpretentious reading of three dozen portraits, from ancient drinking mugs to recent experimental or parodic pieces in which the artistic representation of a sitter is made from their blood, germ cultures, or DNA. The contemporary world of ubiquitous photos, Nancy argues, in no way makes the portrait a thing of the past. On the contrary, the forms of appearing that mark the portrait continue to challenge how we see the bodies and representations that dominate our world.