In this study, Paola Marrati approaches--in an extremely insightful, rigorous, and well-argued way--the question of the philosophical sources of Derrida's thought through a consideration of his reading of both Husserl and Heidegger. A central focus of the book is the analysis of the concepts of genesis and trace as they define Derrida's thinking of historicity, time, and subjectivity. Notions such as the contamination of the empirical and the transcendental, dissemination and writing, are explained as key categories establishing a guiding thread that runs through Derrida's early and later works. Whereas in his discussion of Husserl Derrida problematizes the relationship between the ideality of meaning and the singularity of its historical production, in his interpretation of Heidegger he challenges the very idea of the originary finitude of temporality.
This book is essential reading not only for those interested in the philosophical roots of deconstruction, but for all those interested in the central questions of history and temporality, subjectivity and language, that pervade contemporary debates in cultural, literary, and visual theory alike.

PREMIERE PARTIE: DERRIDA LECTEUR DE HUSSERL: . . . . . . . . . . . 7 1. 1. L'EIDOSET LE TEMPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 1. Le probleme de la genese: Ie temps et la verite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2. L'etre a toujours deja commence: geneses phenomenologique, ontologique, empirique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 3. La teleologie transcendantale et sa crise empirique: l'eidos Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 1. 2. L'ABSOLU EST LE PASSAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 1. Reactivation de l'origine: la question en retour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2. La verite ne peut vivre qu'a condition de survivre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 3. L'ecriture et Ie sens transcendantal de la mort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 4. La crise de l'histoire: Ie fait, l'eidos et la faute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 1. 3. L'OUBLI ET LA MEMOIRE (DE L'IDEALITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 1. La difference n'habite que Ie langage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 2. Memoire et oubli de I'idealite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 3. L'epoche et Ie discours solitaire de l'fune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 4. Intuition originaire et signification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 5. La duree de l'Augenblick: Ie monde dans Ie temps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 6. Widersinnigkeit et Sinnlosigkeit: (Idealite de la Bedeutung et non-intuition) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 DEUXIEME PARTIE: DERRIDA DEVANT HEIDEGGER: . . . . . . . . . . . 99 2. 1. L'ETRE NE SE RASSEMBLE PAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 1. De I'epoque de la representation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 2. Des envois . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 3. Le paradoxe de I'origine chez Heidegger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 2. 2. D'OU NOUS VIENT L' AVENIR ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 1. Temporalite et historialite originaires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 2. Genese et origine du temps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 2. 3. LA VIE DU DASEIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 1. Le Dasein ne passe pas . . . . .: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 2. Ma mort est-elle possible ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 4 CONCLUSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 BIBLIOGRAPHIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

In this study, Paola Marrati approaches--in an extremely insightful, rigorous, and well-argued way--the question of the philosophical sources of Derrida's thought through a consideration of his reading of both Husserl and Heidegger. A central focus of the book is the analysis of the concepts of genesis and trace as they define Derrida's thinking of historicity, time, and subjectivity. Notions such as the contamination of the empirical and the transcendental, dissemination and writing, are explained as key categories establishing a guiding thread that runs through Derrida's early and later works. Whereas in his discussion of Husserl Derrida problematizes the relationship between the ideality of meaning and the singularity of its historical production, in his interpretation of Heidegger he challenges the very idea of the originary finitude of temporality.
This book is essential reading not only for those interested in the philosophical roots of deconstruction, but for all those interested in the central questions of history and temporality, subjectivity and language, that pervade contemporary debates in cultural, literary, and visual theory alike.

As the work of thinkers like Michel Foucault, FranAois Jacob, Louis Althusser, and Pierre Bourdieu demonstrates, Georges Canguilhem exerted tremendous influence on the philosophy of science and French philosophy more generally. In Knowledge of Life, a book that spans twenty years of his essays and lectures, Canguilhem offers a series of epistemological histories that seek to establish and clarify the stakes, ambiguities, and emergence of philosophical and biological concepts that defined the rise of modern biology. How do transformations in biology and modern medicine shape conceptions of life? How do philosophical concepts feed into biological ideas and experimental practices and how re they themselves transformed? How does knowledge "undo the experience of life so as to help man remake what life has made without him, in him or outside of him?" Knowledge of Life is Georges Canguilhem's effort to explain how the movements of knowledge and life each come to rest on the other. Published at the dawn of the genetic revolution, and still pertinent today, Knowledge of Life tackles the history of cell theory, the conceptual moves towards and away from mechanical understandings of the organism, the persistence of vitalism, the nature of normality in science and its objects.

In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of "Cinema 1" and "Cinema 2" in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and Andre Bazin's film theory? What does it tell us about perceiving a world in images--indeed about our relation to the world?

These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.