The work of Jacques Derrida has transformed our understanding of a range of disciplines in the humanities through its questioning of some of the basic tenets of western metaphysics. This volume is a trans-disciplinary collection dedicated to his work. The assembled contributions--on law, literature, ethics, gender, politics and psychoanalysis--constitute an investigation of the role of Derrida's work in the humanities, present and future. The volume is distinguished by work on some of his most recent writings, and contains Derrida's own address on "the future of the humanities".

Paul de Man is often associated with an era of high theory, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man 's work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.

The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.

Paul de Man is often associated with an era of high theory, an era it is argued may now be coming to a close. This book, written by three leading contemporary scholars, includes both a transcript and facsimile print of a previously unpublished text by de Man of his handwritten notes for a lecture on Walter Benjamin. Challenging and relevant, this volume presents de Man 's work as a critical resource for dealing with the most important questions of the twenty-first century and argues for the place of theory within it.

The humanities are flooded with crises of globalism, capitalism and terrorism, contemporary narratives of financial collapse, viral annihilation, species extinction, environmental disaster and terrorist destruction. Cohen, Colebrook and Miller draw out the implications of these crises and their narratives and, reflecting on this work by de Man, explore the limits of political thinking, of historical retrieval and the ethics of archives and cultural memory.

The material elements of writing have long been undervalued, and have been dismissed by recent historicising trends of criticism; but analysis of these elements - sound, signature, letters - can transform our understanding of literary texts. In this 1994 book Tom Cohen shows how, in an era of representational criticism and cultural studies, the role of close reading has been overlooked. Arguing that much recent criticism has been caught in potentially regressive models of representation, Professor Cohen undertakes to counter this by rethinking the 'materiality' of the text itself. Through a series of revealing new readings of the work of writers including Plato, Bakhtin, Poe, Whitman and Conrad, Professor Cohen exposes the limitations of new historicism and neo-pragmatism, and demonstrates how 'the materiality of language' operates to undo the representational models of meaning imposed by the literary canon.

In Ideology and Inscription Tom Cohen questions the way history, ideology and politics are invoked in contemporary cultural studies. Enlisting the work of three seminal figures in literary theory - Walter Benjamin, Paul de Man, and M. Bakhtin - Cohen argues for a new politics of memory that moves beyond what he sees as our current paralysing preoccupation with the present, and also for a new approach to the reading and analysis of cultural texts that breaks with the mimetic premises of traditional criticism. The book challenges many of the prevailing methodologies and assumptions of the contemporary critical scene and, through analyses of such topics as the rhetoric of science, ecological criticism, and the films of Hitchcock, demonstrates the subtlety and critical power of a more genuinely 'materialist' approach to a wide range of cultural texts.

In Ideology and Inscription Tom Cohen questions the way history, ideology and politics are invoked in contemporary cultural studies. Enlisting the work of three seminal figures in literary theory - Walter Benjamin, Paul de Man, and M. Bakhtin - Cohen argues for a new politics of memory that moves beyond what he sees as our current paralysing preoccupation with the present, and also for a new approach to the reading and analysis of cultural texts that breaks with the mimetic premises of traditional criticism. The book challenges many of the prevailing methodologies and assumptions of the contemporary critical scene and, through analyses of such topics as the rhetoric of science, ecological criticism, and the films of Hitchcock, demonstrates the subtlety and critical power of a more genuinely 'materialist' approach to a wide range of cultural texts.

The material elements of writing have long been undervalued; but analysis of these elements--sound, signature, letters--can transform our understanding of major texts. Tom Cohen argues in this book that in an era of representational criticism the role of close reading has been overlooked. Through astonishing new readings of writers such as Plato, Bakhtin, Poe, Whitman, and Conrad, Professor Cohen exposes the limitations of new historicism and neo-pragmatism, and demonstrates how the "materiality of language" challenges representational models of meaning imposed by the canon.

The work of Jacques Derrida has transformed our understanding of a range of disciplines in the humanities through its questioning of some of the basic tenets of western metaphysics. This volume is a trans-disciplinary collection dedicated to his work. The assembled contributions--on law, literature, ethics, gender, politics and psychoanalysis--constitute an investigation of the role of Derrida's work in the humanities, present and future. The volume is distinguished by work on some of his most recent writings, and contains Derrida's own address on "the future of the humanities".

Renowned contributors use the late work of this crucial figure to open new speculations on "materiality." A "material event," in one of Paul de Man's definitions, is a piece of writing that enters history to make something happen. This interpretation hovers over the publication of this volume, a timely reconsideration of de Man's late work in its complex literary, critical, cultural, philosophical, political, and historical dimensions. A distinguished group of scholars responds to the problematic of "materialism" as posed in Paul de Man's posthumous final book, Aesthetic Ideology. These contributors, at the forefront of critical theory, productive thinking, and writing in the humanities, explore the question of "material events" to illuminate not just de Man's work but their own. Prominent among the authors here is Jacques Derrida, whose extended essay "Typewriter Ribbon: Limited Inc (2)" returns to a celebrated episode in Rousseau's Confessions that was discussed by de Man in Allegories of Reading. The importance of de Man's late work is related to a broad range of subjects and categories and-in Derrida's provocative reading of de Man's concept of "materiality"-the politico-autobiographical texts of de Man himself. This collection is essential reading for all those interested in the present state of literary and cultural theory. Contributors: Judith Butler, UC Berkeley; T. J. Clark, UC Berkeley; Jacques Derrida, Ecole des Hautes Etudes en Sciences Sociales and UC Irvine; Barbara Johnson, Harvard U; Ernesto Laclau, U of Essex; Arkady Plotnitsky, Purdue U; Laurence A. Rickels, UC Santa Barbara; and Michael Sprinker.

Tom Cohen's radical exploration of Hitchcock's cinema departs from conventional approaches-psychoanalytic, feminist, political-to emphasize the dense web of signatures and markings inscribed on and around his films. Aligning Hitchcock's agenda with the philosophical and aesthetic writings of Nietzsche, Derrida, and Benjamin, Cohen's project dramatically recasts the history and meaning of cinema itself.This first volume of Hitchcock's Cryptonymies provides a singularly close reading of films such as The Lady Vanishes, Spellbound, and North by Northwest, exposing the often imperceptible visual and aural puns, graphic elements, and cryptograms that traverse his entire body of work. Within Hitchcock's cinema, Cohen argues, these "secret agents" have more than just decorative or symbolic significance; they also reflect, critique, and disrupt traditional cinematic practice, undermining ways of seeing inherited from the Enlightenment and prefiguring postmodern culture. From the recurrence of the eye motif and the frequency of names beginning with "Mar" to the role of memory and the director's trademark cameos, Cohen offers an unprecedented guide to the entirety of Hitchcock's labyrinthine signature system. At the same time, he liberates Hitchcock's works from film history (modernist, auteurist), revealing them as unsettled events in the archaeology of contemporary global image culture.Tom Cohen is professor of American literary, critical, and cinematic studies at the University at Albany. He is the author of Anti-Mimesis: From Plato to Hitchcock and Ideology and Inscription: "Cultural Studies" after Benjamin, and coeditor of Material Events (Minnesota, 2000).

In the first The Man Who Knew Too Much, Alfred Hitchcock films a clay pigeon crossing the sky, a dark disc resembling a black sun. When the same work takes viewers into a temple for sun worshippers (it turns out to be a front for spies), another black orb is introduced: a black marble used to hypnotize initiates. Tom Cohen traces this motif-and many others-seeing it as an explicit challenge both to Enlightenment-era protocols of representation and to the auteurism that has defined studies of Hitchcock. This second volume of Hitchcock's Cryptonomies presents the director's works as a radical collage of images and absences, letters and numbers, citations and sounds that together mark Hitchcock as a knowing figure who was entirely aware of his-and cinema's-place at the dawn of a global media culture, as well as of the cinema's revolutionary impact on perception and memory. Cohen's provocative interrogation culminates in an innovative close analysis of To Catch a Thief, a work disregarded by the critical establishment as being merely light entertainment. Disguised as thrillers, Hitchcock's films are as subversive as the spies around which their plots often revolve. Cohen sees them as "war machines"-hiding in plain sight at the center of the film canon-designed as much to erode traditional models of home, family, and state as to sabotage increasingly obsolete ways of seeing and knowing.Tom Cohen is professor of American literary, critical, and cinematic studies at the University at Albany. He is the author of Anti-Mimesis: From Plato to Hitchcock and Ideology and Inscription: "Cultural Studies" after Benjamin, and coeditor of Material Events (Minnesota, 2000).