Sophistry, since Plato and Aristotle, has been philosophy's negative alter ego, its bad other. Yet sophistry's emphasis on words and performativity over the fetishization of truth makes it an essential part of our world's cultural, political, and philosophical repertoire. In this dazzling book, Barbara Cassin, who has done more than anyone to reclaim a mode of thought that traditional philosophy disavows, shows how the sophistical tradition has survived in the work of psychoanalysis. In a highly original rereading of the writings and seminars of Jacques Lacan, together with works of Freud and others, Cassin shows how psychoanalysis, like the sophists, challenges the very foundations of scientific rationality. In taking seriously equivocations, jokes, and unfinishable projects of interpretation, the analyst, like the sophist, allows performance, signifier, and inconsistency to reshape truth. This witty, brilliant tour de force celebrates how psychoanalysts have become our culture's key dissidents and register, in Lacan's words, "the presence of the sophist in our time."

The ground-breaking and monumental encyclopedia of philosophical terms read through the history of their translation, Vocabulaire Europeen des philosophies: Dictionnaire des Intraduisibles, ed. Barbara Cassin (Paris: Robert/Le Seuil, 2004), finally appeared in English translation in 2014 with Princeton University Press as the Dictionary of Untranslatables: A Philosophical Lexicon, eds. Barbara Cassin, Emily Apter, Jacques Lezra, Michael Wood. Translations of the Vocabulaire are now under way in several other major languages, including Arabic, Farsi, Romanian, Italian, Ukrainian and Russian. This special issue of Paragraph will be the first sustained critical reflection following the publication of the Dictionary of Untranslatables, and includes contributions by those who were most closely involved in the editing of this volume, by two of the translators (Mehlman, Syrotinski), as well as others whose work has been significantly inflected or influenced by the questions raised by the Dictionary.

Sophistry, since Plato and Aristotle, has been philosophy's negative alter ego, its bad other. Yet sophistry's emphasis on words and performativity over the fetishization of truth makes it an essential part of our world's cultural, political, and philosophical repertoire. In this dazzling book, Barbara Cassin, who has done more than anyone to reclaim a mode of thought that traditional philosophy disavows, shows how the sophistical tradition has survived in the work of psychoanalysis. In a highly original rereading of the writings and seminars of Jacques Lacan, together with works of Freud and others, Cassin shows how psychoanalysis, like the sophists, challenges the very foundations of scientific rationality. In taking seriously equivocations, jokes, and unfinishable projects of interpretation, the analyst, like the sophist, allows performance, signifier, and inconsistency to reshape truth. This witty, brilliant tour de force celebrates how psychoanalysts have become our culture's key dissidents and register, in Lacan's words, "the presence of the sophist in our time."

Francophone African writing is often concerned with questions of subjectivity and narrative agency, and it is this focus Michael Syrotinski takes as his point of departure in "Singular Performances." Using the work of V. Y. Mudimbe as a major theoretical reference, Syrotinski sets up a number of original dialogues between francophone African literature, African philosophy, literary theory, postcolonial studies, cinema, cultural studies, and history to arrive at the notion of a "performative reinscription of subjectivity."

"Singular Performances" covers a wide range of francophone African writers, each of whom is read within a broader theoretical context related to African subjectivity: Mudimbe and the philosophical subject, Aoua Keita and autobiography, Bernard Dadie and ethnographic irony, Ousmane Sembene and Tierno Monenembo and the cinematic imagination, Veronique Tadjo and Werewere Liking and the female writing subject, and Sony Labou Tansi and the "spectral" subject.

In this skillful interdisciplinary weaving together of contemporary theory and literature, the focus on the francophone African subject allows for a richer appreciation of the texture and rhetoric of the language of the texts themselves. What emerges from this study is the subject understood not as a single homogenized entity but as a plural celebration of singular francophone African subjectivities.