Christopher Fynsk

Gasché proposes to bring forth in Derrida's writings a philosophical dimension that has gone largely unrecognized by "deconstructionist" literary criticism and by a philosophical community that has for the most part been able to see in his text only a scandalous refusal of the traditional techniques of philosophical argumentation. He attempts to demonstrate the systematic character of Derrida's thought and its general scope, and to do so he gives particular attention to the earlier and more properly philosophical writings. This is a gesture that will inevitably meet some resistance from those who admire the more written dimension of Derrida's work. But Gasché is fully justified in arguing that any attempt to assess Derrida's effort to assume in his writing what he attempts to think with a notion such as "différance" must proceed from an understanding of his philosophical project.

This essay contains a consideration of Maurice Blanchot's contribution to the collective project that came to be known as The International Review. It focuses on Blanchot's insistence that the project be collective and international, and pursues Blanchot's effort to provide a thought of the fragmentary that will answer these imperatives. With special attention to the question of literature, the essay concludes with a consideration of Blanchot's own proposed contribution, his famous piece ‘Berlin’.

The humanities- in their conceptual and intellectual specificity, disciplinary rigor, and ethical, social, and political potential- are very much in need of defense and rearticulation in our time, particularly from a perspective that moves beyond the political and philosophical reductions of identity politics. Leaving aside polemics, Flynn asserts that discourses in the humanities will find real ethical-political purchase when they engage with the material events in art, literature, and social life that call for humanistic reflection.

This volume juxtaposes philosophical and psychoanalytic speculation with literary and artistic commentary in order to approach a set of questions concerning the human relation to language. The multifold writing of the volume takes the form of a 'triptych' (following the model of works by Francis Bacon) rather than that of a thesis. The central section of the volume contains an extended dialogue on two textual passages from works by Maurice Blanchot and Jacques Lacan. The first part of the volume's triptych focuses on the work of Francis Bacon, taking the motif of crucifixion as a path toward understanding his violent realism. The third part, which juxtaposes a dialogue with a critical essay, concerns the work of Salvatore Puglia. Through Bacon and Puglia, the author seeks another approach to a figural imperative at the limits of language.

The most recent version of the “linguistic turn,” the revolution in language theory shaped by Saussure’s structural linguistics and realized in a sweeping revision of investigations throughout the humanities and social sciences, has rushed past the most basic “fact”: that there is language. What has been lost? Almost everything of what Heidegger tried to approach under the name of “ontology” until the word proved too laden by common misapprehension to be of use. Most immediately, this is everything of language that exceeds the order of signification, together with the subject’s engagement with this “excess” that is the (non)ground of history and the material site of all relationality, beginning with that unthought that is widely termed “culture.” Language and Relation returns to this site in close readings of meditations on language by Martin Heidegger, Luce Irigaray, Paul Celan, Walter Benjamin, and Maurice Blanchot. It seeks to move with these authors beyond the order of signification and toward the an-archic grounds of relation (of all relations between self and other, and of relation in general), exploring the possibility for a strong link between issues in modern philosophy of language and contemporary socio-political concerns.

Writing, Maurice Blanchot taught us, is not something that is in one's power. It is, rather, a search for a non-power that refuses mastery, order, and all established authority. For Blanchot, this search was guided by an enigmatic exigency, an arresting rupture, and a promise of justice that required endless contestation of every usurping authority, an endless going out toward the other. "The step/not beyond" ("le pas au-dela") names this exilic passage as it took form in his influential later work, but not as a theme or concept, since its "step" requires a transgression of discursive limits and any grasp afforded by the labor of the negative. Thus, to follow "the step/not beyond" is to follow a kind of event in writing, to enter a movement that is never quite captured in any defining or narrating account. Last Steps attempts a practice of reading that honors the exilic exigency even as it risks drawing Blanchot's reflective writings and fragmentary narratives into the articulation of a reading. It brings to the fore Blanchot's exceptional contributions to contemporary thought on the ethico-political relation, language, and the experience of human finitude. It offers the most sustained interpretation of The Step Not Beyond available, with attentive readings of a number of major texts, as well as chapters on Levinas and Blanchot's relation to Judaism. Its trajectory of reading limns the meaning of a question from The Infinite Conversation that implies an opening and a singular affirmation rather than a closure: "How had he come to will the interruption of the discourse?"