This article delves into the discreet yet persistent presence of music in Sarah Kofman's work. Three strands or movements of unequal length are explored here, each of which touches upon a specific...

Jacques Derrida’s Death Penalty seminar is haunted, from its margins, by euthanasia. Yet even as he alludes to this question throughout the seminar, he puts it on hold, no doubt because it calls for a standalone analysis. In “Living On,” however, Derrida’s 1979 reading of Maurice Blanchot’s Death Sentence (L’Arrêt de mort), he refers to “a ‘double bind’ that makes every death a crime,” thus subverting this very distinction, which is meant to ensure the hard ethical border between euthanasia and (...) capital punishment. Through a rereading of Blanchot’s Death Sentence that takes its cues from Derrida’s Death Penalty seminar, this article analyses the porous nature of death’s various instantiations when it is conceived as a crime, beginning with the “arrêt” (simultaneously a stop and a judgment), the penalty and the sentence. (shrink)