Sarah Kathryn Marshall

Whereas traditional abolitionist arguments call for putting an end to capital punishment, French-Algerian philosopher Jacques Derrida emphasizes its survival, writing that “even when it will have been abolished, the death penalty will survive.” My dissertation interprets this perplexing claim by attending to the specificity of Derrida’s discourse on survival or survivance, contending that the death penalty serves an irreducible role in the constitution of the (individual or collective) subject, such that, even in the event of its abolition, some form of the death penalty must continue. Through close readings of Heidegger, Kant, Nietzsche, Freud, Michel de Montagne, and Victor Hugo, as well as Shakespeare, linguist Émile Benveniste, Hungarian psychoanalysts Abraham and Torok, and the nineteenth-century political theorist Juan Donoso Cortés, the dissertation provides an account of the function of the death penalty as a specific institution within the modern penal system of a collective political body and as the legacy of ancient political economies based on sacrificial rites. This analysis interprets the death penalty both structurally and specifically, accounting for the indissociable relationship between the institution and its conceptual structure more broadly. Survivance, I argue, only ever occurs through an other, leaving open the question of the survival of the death penalty to the dissemination of indefinite and unpredictable forms that could consist in its abolition.

This essay is a defense of Jean-Paul Sartre’s The Imaginary as a text which changes the direction of philosophical thinking regarding the image. Historically depreciated as a mere “copy” or “appearance” of a “reality” grasped through perception, the image is reconceived in Sartre’s text, which culminates in a revaluation of imagination as the condition of possibility for a human consciousness that always already transcends its situation towards something entirely other – what he calls “the imaginary.” Despite the metaphysical bias that clearly operates on Sartre’s thinking throughout The Imaginary and leads him to privilege perception over imagination, his work ultimately succeeds in nihilating the traditional thing-image binary. In effect, he imagines something other than his situatedness within the philosophical reality of his time, ushering in a thought of the imaginary through a creative encounter with nothingness. This thought could only occur spontaneously, for the advent of the imaginary is not produced in an act of will. Accordingly, this essay attempts to trace the movements of Sartre’s project in its transformative process

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This essay is a defense of Jean-Paul Sartre’s The Imaginary as a text which changes the direction of philosophical thinking regarding the image. Historically depreciated as a mere “copy” or “appearance” of a “reality” grasped through perception, the image is reconceived in Sartre’s text, which culminates in a revaluation of imagination as the condition of possibility for a human consciousness that always already transcends its situation towards something entirely other – what he calls “the imaginary.” Despite the metaphysical bias that clearly operates on Sartre’s thinking throughout The Imaginary and leads him to privilege perception over imagination, his work ultimately succeeds in nihilating the traditional thing-image binary. In effect, he imagines something other than his situatedness within the philosophical reality of his time, ushering in a thought of the imaginary through a creative encounter with nothingness. This thought could only occur spontaneously, for the advent of the imaginary is not produced in an act of will. Accordingly, this essay attempts to trace the movements of Sartre’s project in its transformative process.