Jeff Fort

The recent publication of André Bazin's Écrits complets, an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple nonetheless retains its fascination. Rather than attempting to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell.

Blanchot often evoked the silence required for literary writing, a silence which he says must “be imposed” on a pre-existing and indistinct murmur of language. Likewise, he evokes this murmur itself as an originary ground of all speech, including literary speech. Less often recognized are the ways in which he also locates this murmur in the realm of public speech and everyday language, the rumor of speech spoken by no one and by everyone, a realm which he in turn links with the exigencies of publication and publicity that bear on the literary work within modern societies marked by mass media and technically mediated communication. Blanchot himself thus points to an unexpected convergence, in these sonic images of impersonal murmuring flows of language, between literary language per se, and a language that is traditionally considered inauthentic, empty, superficial, a chattering nullity. This essay attempts to press on this border by showing Blanchot’s anxious, and probably futile, attempts to maintain the distinction he so profoundly and rigorously effaces. As literature is threatened by the indistinction of language from which it originates, it reveals an unexpected convergence with the leveling modes of language marked by mass media and by technicity in general.

“A great story, full of twists and turns.... Careers made and ruined, departments torn apart, writing programs turned into sensitivity seminars, political witch hunts, public opprobrium, ignorant media attacks, the whole ball of wax. Read it and laugh or read it and weep. I can hardly wait for the movie.” —Stanley Fish, _Think Again, New York Times_ “In such a difficult genre, full of traps and obstacles, French Theory is a success and a remarkable book in every respect: it is fair, balanced, and informed. I am sure this book will become the reference on both sides of the Atlantic.” —Jacques Derrida “The Atlantic Ocean has two sides, and so does French Theory. Reinvented in America and betrayed in its own country, it has become the most radical intellectual movement in the West with global reach, rewriting Marx in light of late capitalism. Breathtakingly moving back and forth between the two cultures, Francois Cusset takes us through a dazzling intellectual adventure that illuminates the past thirty years, and many more decades to come.” —Sylvere Lotringer During the last three decades of the twentieth century, a disparate group of radical French thinkers achieved an improbable level of influence and fame in the United States. Compared by at least one journalist to the British rock ‘n’ roll invasion, the arrival of works by Michel Foucault, Jacques Derrida, Jean-François Lyotard, Jean Baudrillard, Gilles Deleuze, and Félix Guattari on American shores in the late 1970s and 1980s caused a sensation. Outside the academy, “French theory” had a profound impact on the era’s emerging identity politics while also becoming, in the 1980s, the target of right-wing propagandists. At the same time in academic departments across the country, their poststructuralist form of radical suspicion transformed disciplines from literature to anthropology to architecture. By the 1990s, French theory was woven deeply into America’s cultural and intellectual fabric. French Theory is the first comprehensive account of the American fortunes of these unlikely philosophical celebrities. François Cusset looks at why America proved to be such fertile ground for French theory, how such demanding writings could become so widely influential, and the peculiarly American readings of these works. Reveling in the gossipy history, Cusset also provides a lively exploration of the many provocative critical practices inspired by French theory. Ultimately, he dares to shine a bright light on the exultation of these thinkers to assess the relevance of critical theory to social and political activism today-showing, finally, how French theory has become inextricably bound with American life. François Cusset, a writer and intellectual historian, teaches contemporary French thought in Paris at the Institut d’Etudes Politiques and at Columbia University’s Reid Hall. His books include Queer Critics and La Décennie. Jeff Fort is assistant professor of French at the University of California, Davis. He has translated works by Maurice Blanchot, Jean Genet, and Jean-Luc Nancy.

“For what tomorrow will be, no one knows,” writes Victor Hugo. This dialogue, proposed to Jacques Derrida by the historian Elisabeth Roudinesco, brings together two longtime friends who share a common history and an intellectual heritage. While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.” Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.” These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future

This volume collects and translates Philippe Lacoue-Labarthe’s studies of Heidegger, written and revised between 1990 and 2002. All deal with Heidegger’s relation to politics, specifically through Heidegger’s interpretations of the poetry of Hölderlin. Lacoue-Labarthe argues that it is through Hölderlin that Heidegger expresses most explicitly his ideas on politics, his nationalism, and the importance of myth in his thinking, all of which point to substantial affinities with National Socialism. Lacoue-Labarthe not only examines the intellectual background--including Romanticism and "German ideology"--of Heidegger's uses and abuses of poetry, he also attempts to reestablish the vexed relationship between poetry and philosophy outside the bounds of the Heideggerian reading. He turns to Walter Benjamin and Theodor Adorno, as well as Paul Celan, arguing for the necessity of poetry as an engagement with history. While Heidegger's readings of Hölderlin attempt to appropriate poetry for mythic and political ends, Lacoue-Labarthe insists that poetry and thought can, and must, converge in another way. Jeff Fort provides a precise translation capturing the spirit and clarity of Lacoue-Labarthe’s writing, as well as an introduction clearly situating the debates addressed in these essays

This book makes available for the first time in English—and for the first time in its entirety in any language—an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention. _Copy, Archive, Signature_ will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time

This illuminating study by Christian Jambet explores the essential elements of the philosophical system of Mulla Sadra Shirazi, an Iranian Shi'ite of the seventeenth century. The writings of Mulla Sadra Shirazi bear witness to the divine revelation in every act of being, from the most humble to the most celebrated. More generally, Islamic philosophy employs an ontology of the real that is important to the destiny of metaphysics, an ontology that belongs to our own universe of thought. The Act of Being, nourished by the Sufism of Ibn al-'Arabi, the philosophy of classical Islam, the thought inherited from the Greeks, and the esoteric and mystical dimension of Shi'ism, seeks to make sense of this intuition of the real.Mulla Sadra saw the world as moving ceaselessly in an uninterrupted revolution of its substances, in which infinite existence breaks through the successive boundaries of the sensible and the intelligible, the mineral and the angelic. In a flourish of epiphanies, in the multiplied mirror of bodies and souls, Mulla Sadra perceived absolute divine liberty. Revealing freedom in the metamorphosis of the believer and the sage, existence teaches the imitation of the divine that can be seen "in its most beautiful form." Reading Mulla Sadra reveals the nexus of politics, morality, liberty, and order in his universe of thought--a universe, as Christian Jambet shows, that is indispensable to our understanding of Islamic thought and spirituality