In this paper I address Jacques Derrida's consistent phenomenological critique of his colleague Louis Althusser. Over the course of many decades, Derrida explicitly draws attention to what he takes to be Althusser's problematic pre-critical scientism, which is the direct result of the latter's failure to engage with Husserl and Heidegger. However, as I attempt to show, Althusser sought to reveal deeper problems associated with transcendental-critical questions in post-Kantian philosophy. For Althusser, questions concerning the ‘conditions of possibility’ of knowledge and experience (...) reproduce the idealist problematic that he calls ‘empiricism’. Charting a different trajectory within contemporary French philosophy, Althusser combines insights from Spinoza, Marx, and other figures often unmentioned by Derrida to produce a novel, non-transcendental philosophical approach to key problems that arise in epistemology and the philosophy of science. (shrink)

As they make their way through Louis Althusser’s and Jacques Derrida’s texts, readers will cross innumerable curtains – ‘the words and things’, as Derrida says, as many fabrics of traces. These curtains open onto a multiplicity of scenes and mises en scène, performances, roles, rituals, actors, plays – thus unfolding the space of a certain theatricality. This essay traces Althusser’s and Derrida’s respective deployments of the theatrical motif. In his theoretical writings, Althusser’s theatrical dispositive aims to designate the practical and (...) material dimension of the scenes of ideology, materially enacted through roleplays, performances, acts, or discourses. At the horizon: a scientific discourse on ideology or, later, a strategic intervention in the class struggle. This scientific and/or strategic orientation echoes Althusser’s definition of materialism: ‘no more storytelling’. But Derrida’s ‘closure of representation’ reminds us that there’s no presence – even the most ‘material’ – no ‘truth’ or ‘correctness’ – in theoretical or strategic terms – without effects of re-presentation, differential repetition, narrative reconstruction: theatricality and materiality suppose a force of resistance, a secret heterogeneity, curtain foldings. Hence the irreducible necessity of reading, storytelling, transformative interpretation. What are the implications for thinking inheritance and debt – for example, the one binding Althusser and Derrida, and us to them? (shrink)