ABSTRACTThis essay provides a sketch of Merleau-Ponty’s understanding of love in relation to human experience and to the conceptualization of φιλία and σοφία outlined in his later works. In response to what he calls a “cruel thought … that is more fear of error than it is a love of truth”, Merleau-Ponty’s reflections on love and jealousy in Proust offer a concept of “fugitive love”. Opposed to the Cartesian desire for apodicticity that seeks to seize and arrest, fugitive love means (...) withholding one’s touch and letting the beloved die. In its offer of dispossession rather than possession, love requires faith. This faith, the opposite of faith in an absolute λόγος, invites and accepts being’s occultation as the very means of its openness. Merleau-Ponty’s thought offers a mode of philosophizing that no longer aims to make being its captive but a philosophy of weakness that allows for its withdraw. (shrink)

This paper examines the role of performance in law and music as a structural means of their self-programming construction. Music and law are considered as parallel social practices or performative doings. The paper begins with a critical analysis of the special aesthetical features of present-day juridical practice as exemplified by legal trial and legal expertise. Drawing upon reflections on the modern discourse on aesthetics and art, the article then examines in greater detail the specific traits of performance in law and (...) jazz music. Performative processes move from representation to presentation, from a preoccupation with rules and controlling to induced self-programming. Both law and jazz regard the unknown future as a resource for present decisions by “inventing” new possibilities; both require, expand and promote a responsibility that does not follow from statutes nor can be expressed in a code of ethics. Finally, the article addresses the performance situation in jazz. Jazz being polyphonic and improvisational by nature, improvisation makes explicit tradition by staging the context dependency of its performance. It is mediated by the knowledge, the operational history and the communication of the participants. Jazz is an exercise in the possibilities of an “aesthetics of imperfection” which can open up new ways of seeing law and politics. (shrink)

This text begins by considering the phrase ‘digital haptology’ as suggested by the closing pages of Derrida's Le Toucher. It suggests that this moment in telecommunications presents a model of ‘tele-haptology’. The text goes on to consider Jean-Luc Nancy's ‘Noli me tangere’ as a response to Le Toucher. In particular it is concerned with Nancy's hypothesis on Modern literature and art as having an essential link to the gospel parables. Through a reading of Nancy's text and the gospels, this hypothesis (...) is placed in doubt. Notably, the argument is made that once again Nancy's discourse on touching leads him to make a too hasty fore-closure of otherness within his intended deconstruction of reading and his account of Mary Magdalene. In response to Nancy's formulation of literature as parable, an alternative consideration of literature as tele-haptology is proposed. (shrink)

Law and literature, an exemplary product of the textual turn in the study of culture, has found itself challenged by the more recent visual turn in critical thought. However, debate hitherto has been largely based on a two-dimensional approach to the visual. By going beyond the metaphor of the ‘legal screen’ in favour of a theory of the ‘statuesque’, this essay adds a new dimension to the way we think about the force of law in culture. Drawing on eighteenth-century and (...) contemporary aesthetic theory, and twentieth- and twenty-first-century public art, the article presents an account of the political aesthetics of law in which a place for the possibility of justice may be made. (shrink)

This article aims to explore the philosophical approach to faith after deconstruction as manifested in the work of Jean-Luc Marion and Jean-Luc Nancy. By taking the saturated phenomenon as its focus, the analysis seeks to demonstrate that whilst Marion’s thinking proves to be an innovative re-imagining of the possibilities of phenomenology, its problematic recourse to a supplementary hermeneutic means that saturation can never be adequately applied to faith without simultaneously compromising the excessive intuition upon which it relies. The article then (...) explores whether Nancy’s suggestion that saturation be re-framed as faith can offer a viable alternative approach. Whilst the post-phenomenological modality within which Nancy operates means it may be problematic to retain the term ‘saturation’ in the exact sense Marion gives it, it is argued that Nancy’s version of saturated faith allows us to approach the binary divide between philosophy and theology from a different direction, resulting in a vision of faith that cuts across theism and atheism, destabilising them from within. Although Nancy’s thought in this area certainly does nothing to respond to persistent questions surrounding the place of institutionalized religion within secular modernity, it nevertheless serves as a powerful tool for thinking the possibilities of faith in the twenty-first century. (shrink)

In this article I explore how a philosophical conception of love may be used to draw debate on the death of God beyond the binary opposition between theology and philosophy through a comparative study of the work of Jean-Luc Marion and Jean-Luc Nancy. Although Marion’s reading of love—in both its theological and phenomenological guises—proposes an innovative phrasing of a non-metaphysical notion of divinity, I argue that it is ultimately unable to maintain its coherence in nominal discourse due to Marion’s insistence (...) on keeping love and being separate. In contrast, through his unique thinking on ontology, Nancy’s philosophy allows us to reposition love at the heart of being, from whence it may serve as a means of disrupting the very principle governing the atheist and theist world-views. Far from dismantling Marion’s core proposition, I conclude that the two thinkers may in fact be more closely aligned than previous scholarship has acknowledged, coming together in the need to affirm an experience of the impossible that takes place in the present rather than in any eschatological fulfillment to come. At this intersection between two nominally very different thinkers, love forms an ontological limit-point for thought that poses a challenge to both theology and philosophy alike as they continue to grapple with the question of religion in the twenty-first century. (shrink)

In this article I seek to address the way that Jean-Luc Nancy's project of the ‘deconstruction of Christianity’ relates to the understanding of what might be meant by ‘Christian art’. In the process of looking at Nancy's treatment of some signal ‘Christian’ scenes I describe some ways in which the motif of ‘touching’ arises as significant for how Nancy addresses the possibility of ‘alienation from the world’, a possibility that he takes to be central to the self-deconstructive potential of ‘Christianity’. (...) Subsequently the topic of the distinction between ‘faith’ and ‘belief’ is related to how Derrida understands the notion of the ‘messianic’ and I conclude with a suggestion concerning how the plurality of ‘deconstructions’ might complicate the question of what is meant by the view that the ‘deconstruction of Christianity’ is itself a ‘Christian’ project. (shrink)