Beginning right at the start of the recently published volume II of Donner le temps, at its ‘bord’ or ‘boarding’ upon or out of a calmy oceanic surface, this essay examines the functions and movements of distinct surfaces in between Heidegger and Derrida. Confronting thus the tradition of the ‘Grund’, ‘Abgrund’, ‘Urgrund’, ‘Ungrund’, with the khôra-like surface of archi-writing and dissemination, the essay proposes an investigation of the philosophical and writerly space of Derrida/Heidegger not through their marks and letters, but (...) instead through the different surfaces of inscription and – simultaneous – effacement as the ‘proper places’ of thought and experience, of Destruktion and deconstruction. (shrink)

This title presents a collection of critical essays investigating the complex encounter between Beckett's works and the discourse of philosophy.

In a footnote of Monolingualism of the Other Derrida describes the plot of a ‘Japanese film whose name [he does] not know,’ but which presents a familial history of incest, violence and tattoos, and which relates to the dream of his style, his ‘ductus,’ what he wants to make arrive to language. By analysing this film together with other instances of tattooing in Derrida's body of work, this essay will show how, if Derrida's dreamt style is a colourful tattoo, this (...) is because his texts are an undecidable inscription, a violent penetration and loving transfusion, between images and words. (shrink)