Examines how violence has been conceptually and rhetorically put to use in continental social theory.

The debate regarding representation is haunted by the fact that it takes place within a context of general suspicion whereby everything, it is claimed, is always representation. Such is the hurdle that Foucault identifies and Derrida attempts to elucidate in his debate with Heidegger, in which he takes issue with Heidegger’s critique of the “age of representation.” Derrida’s deconstruction of Heidegger’s account of the history of representation leads to a reconstruction that privileges the motifs of dissemination, of envoi (sending or (...) dispatching). In art too, Derrida confronts Heidegger, this time with the aim of re-thinking the relationship between the work and what lies outside and beyond it. By framing the Derrida/Heidegger debate within a consideration of the Lascaux cave drawings, and by examining the positions of Girard, Bataille and Blanchot in relation to the question of the origins of art, it will be possible to re-draw the boundaries of representation insofar as they lie at the intersection between philosophy and art. (shrink)

:In this essay I will look at four recent films that have organ transplantations “at their heart”: 21 Grams, L'Intrus, Dirty Pretty Things and Heart of Jenin. Each film in its own way shows how Nancy's concept of the intruder balances in a different dynamics between biopolitical and biophilosophical concerns and proposes in various ways a changed concept of sacrifice, transforming sacrifice from religious offering into political or ethical resistance and allowing a-religious strivings to persist.

The term doctors' orders or physicians' orders is endemic to nurses' work, to the degree perhaps that few nurses give the term much thought. The nursing profession has progressed over its historical trajectory, from a level of considerable dependence upon physicians' directives, in its beginning, to much greater professional autonomy. However, the term order remains a stronghold in nurses' professional reality, despite the fact that this term is laden with anachronistic ideological interests that are embedded within the historical, sociopolitical and (...) gendered contexts in which health care occurs. In this essay I consider the term order through multiple philosophical and semantic lenses. I explore the endowment of power within the word order and how this term disadvantages nurses. I examine how the word order demarcates roles and establishes perceived value of the item represented by the originator of the order. The concept of doctors' orders carries powerful meanings, affirms the power‐as‐knowledge hierarchy so entrenched in the nurse–physician relationship, and can inhibit nurses' full participation as partners in health care. (shrink)

The last few years have seen the emergence of a more political, ‘post-Derridean’ generation, critical of the impotent messianism of the politics of deconstruction. As Žižek would have it: ‘Derrida's notion of ‘deconstruction as ethics’ seems to rely on a utopian hope which sustains the spectre of ‘infinite justice’, forever postponed, always to come’ (Žižek 2008: 225). The promise of redemption, it follows, would reside in an insubstantial promissory value, in the writing of irredeemable cheques that, if cashed in, could (...) only ever lead to default. With its ethos of play and over-investment in an empty promise, deconstruction starts to look symptomatic of the now-bankrupt age of excess. Does the current financial crisis not entail a crisis of Derrida? This reading contrives to elide what is genuinely political in Derrida, and thereby fails to recognise the deconstruction of economic theodicy implicit in his work. Jean-Luc Nancy has argued that the concept of sacrifice is irreducibly linked to the short-circuiting of the political. We see in Derrida, however, that sacrifice is at the heart of politics, a response to undecidability that is precisely opposed to the fantasy of economics without sacrifice. Furthermore, sacrificial politics is the condition of possibility of the promise, which is constructed and contingent, rather than a priori. If there is a problem with this, it is that Derrida does not sufficiently entertain the prospect of the promise becoming so distant as to be effectively meaningless. Drawing on Bernard Stiegler, this article argues for an expansion of Derrida's account, to show not only that politics is sacrifice, but moreover that the promise of redemption cannot live on in the absence of sacrifice. (shrink)

This article offers a philosophical account of a range of urban phenomena that are integral to the visual fabric of the modern city and, at the same time, external to the visual order administered by the city’s rulers. Explaining why the common terms of “graffiti” and “street art” are too narrow for discussing the plurality of the illicit visual forms that populate the city’s space, I coin the alternative term “streetography” and aim at a new understanding of its visual efficacy. (...) This is done by showing that the key for deciphering the streetograph’s unique visuality is its form of embeddedness in the street and, in a corollary manner, the form of visual experience—the kinds of viewing—that the street opens for the urban viewer.Streetographs always operate within the city’s given visual order and as such the question of their efficacy is addressed here in terms of the streetograph’s relationship to that hegemonic visual rule whose basic traits are also clarified. Developing an understanding of this relationship, the article thus addresses the following questions: What kind of resistance can streetographs provide to the kind of optics that governs the modern urban space? Can streetographs evoke an alternative kind of spectatorship that disrupts the sovereign’s imagination? And, more specifically, in an epoch in which streetographs are regularly absorbed into capitalist aesthetics—advertising, cinema, social media—how can they allow us to rethink the possibility of resisting the measure of a global capitalist visual system? (shrink)

This essay responds to the Nancean account of presentation, evoked in the opening citation, in order to trace out in Nancy's enquiries a disruption of Husserlian presentation, and a re-thinking of materiality on the edge of classical phenomenology. It stages a non-encounter between the writings of Jean-Luc Nancy and of Jacques Derrida in relation to a third term, the Lacanian conception of the ‘real’. Thereby it can be shown how these writings touch on each other, in response to phenomenology and (...) to psychoanalytical theory, but do not engage. All the same, the claim to be made is that the writings of Nancy and Derrida converge in forming a third option, alongside the secularised phenomenologies of Sartre and Merleau-Ponty and the Christian phenomenologies of Jean-Luc Marion and Michel Henry, by marking up the event of Lacan's reformulation of Freud's psychoanalytical theorising. (shrink)

This essay conducts a reading of Jean-Luc Nancy’s and Jacques Rancière’s respective theorizations of the image. Using Nancy’s notion of literary communism, I first show how he and Rancière conceive the image as a site of community’s open writing and contestation. My reading then demonstrates how this “communism of the image” exposes Rancière’s repetition of an ontological gesture that he has attempted to dismiss as Heideggerian.

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)

The contribution have several aims. In addition to the discussion that follows variability of the concept of landscape and its relationship to the category of environment the contibution focuses on the specific problem of the current aesthetics: transformation of aesthetic reflection of the city as a whole, which is realized by the contemporary aesthetics and philosophy through the Kantian aesthetics in Critique of Aesthetics Judgement. Elaboration of opinions of Marie Rubene and Miroslav Marcelli leads us not only to summarize the (...) conclusions of recent theses, but further to reflect the transformation of city to a country, specific environment free from original effectiveness, where "human returns to natural and becomes a sort of huge subject, which is fluid in its inside..."). Reflection is primarily guided by the category of sublime as an explanatory framework. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

We tend to think of violence as something that happens within the world, as something done by a thing, a being or an existent, to another thing, being or existent. Dhat would it mean to speak of the violence done to the world or, inversely, of the violence done by the world? Are there ways in which an existent, a being, can do violence, not to another existent, but to the world within which all such existents come to presence? Reciprocally, (...) is there a sense in which the world itself presents itself as sort of primordial or originary violence? -/- In this article, I rely on Jean-Luc Nancy's elaboration of the concepts of existence, world and sense to develop the double question of the violence of the world (violence done by and to the world). Ultimately, I show that contrary to the impression given by the use of terms such as generosity and spaciousness, there is at the bottom of Nancy’s ontology a certain originary violence. (shrink)