Geoffrey Bennington

Recent developments in literary theory, such as structuralism and deconstruction, have come under attack for neglecting history, while historically-based approaches have been criticized for failing to take account of the problems inherent in their methodological foundations. This collection of essays is unique in that it focuses on the relation between post-structuralism and historical (especially Marxist) literary theory and criticism. The volume includes a deconstructive reading of Marx, essays that relate history to the philosophical and institutional context, and a number of studies of particular texts, literary and non-literary, which pose the question of history and literary theory with particular force.

It is argued that attempts to archive Derrida’s work and treat it in the standard terms of intellectual history are short-circuited by arguments within his work that undermine the coherence of the concept of archive as it is deployed in such historical descriptions. Drawing on a range of Derrida’s early and late writings and more especially his readings of Freud, it is suggested that Derrida’s claim that psychoanalysis ought to provoke a revision of the terms historians use to discuss it is a fortiori valid for deconstruction.

How might Derrida be said to greet Jean-Luc Nancy in Le Toucher? What kind of handshake does he offer? Derrida explicitly mentions the handshake at the very centre of his book, in the tangent devoted to Merleau-Ponty. A reading of this moment reveals an exemplary case of what happens when Derrida reads apparently ‘fraternal’ texts, and opens up further levels of difference. What then if we consider Nancy's response to Derrida, when the recipient of the handshake shakes back? By examining Nancy's various (mis-)readings of Derrida's famous phrase ‘la différance finie est infinie’ it is possible to trace a subtle but irreducible non-reciprocity in this relationship, represented in the handshake of the ‘salut’ as greeting and valediction, beyond all safety or salvation.

In his seminars on the death penalty, Derrida consistently describes Kant's arguments in favor of capital punishment as “rigorous” and explicitly relates that rigor to the mechanisms of execution and the subsequent rigor mortis of the corpse. ‘Rigor’ has also often been a contested term in descriptions of deconstruction: different commentators have either deplored or celebrated the presence or the absence of rigor in Derrida's work. Derrida himself uses the term a good deal throughout his career, usually in a positive sense, although he also at least once, in passing, suggests the need to question the rigor of the concept of rigor itself. In this paper, I will outline the place of Kant in the Death Penalty Seminars and suggest that it is the very rigor attributed to Kant that makes him (rather than some other writers—whether supporters or opponents of the death penalty—whose arguments seem less rigorous to Derrida) an exemplary object for deconstructive attention, not for the first time in Derrida's work. Broadening the focus beyond the texts Derrida explicitly analyzes, I suggest that this kind of attention can also be fruitfully brought to bear on some more general arguments in Kant about right and justice. In conclusion, I suggest some implications of this situation for the still difficult issue of the more general relation between deconstruction and critique in the Kantian sense.

This extraordinary book offers a clear and compelling biography of Jacques Derrida along with one of Derrida's strangest and most unexpected texts. Geoffrey Bennington's account of Derrida leads the reader through the philosopher's familiar yet widely misunderstood work on language and writing to the less familiar themes of signature, sexual difference, law, and affirmation. In an unusual and unprecedented "dialogue," Derrida responds to Bennington's text by interweaving Bennington's text with surprising and disruptive "periphrases." Truly original, this dual and dueling text opens new dimensions in Derrida's thought and work. "Bennington is a shrewd and well-informed commentator whose book should do something to convince the skeptics... that Jacques Derrida's work merits serious attention."—Christopher Norris, _New Statesman & Society_ "Geoffrey Bennington and Jacques Derrida have presented a fascinating example of what might be called post-structuralist autobiography."—Laurie Volpe, _French Review_ "Bennington's account of what Derrida is up to is better in almost all respects—more intelligent, more plausible, more readable, and less pretentious—than any other I have read."—Richard Rorty, _Contemporary Literature_.

One of the most significant contemporary thinkers in continental philosophy, Jacques Derrida’s work continues to attract heated commentary among philosophers, literary critics, social and cultural theorists, architects and artists. This major new work by world renowned Derrida scholar and translator, Geoffrey Bennington, presents incisive new readings of both Derrida and interpretations of his work. Part one sets out Derrida’s work as a whole and examines its relevance to, and ‘interruption’ of, the traditional domains of ethics, politics and literature. The second part of the book presents compelling insights into some important motifs in Derrida’s work, such as death, friendship, psychoanalysis, time and endings. The final section introduces trenchant appraisals of other influential accounts of Derrida’s work. This influential and original contribution to the literature on Derrida is marked by a commitment to clarity and accuracy, but also by a refusal to simplify Derrida’s often difficult thought.