This essay advances an interpretation of early Christian codex books, which goes beyond Catherine Pickstock’s critique of Jacques Derrida. Firstly, it summarizes Derrida’s deconstruction of Plato’s Phaedrus and introduces his understanding of writing as différance. Secondly, it outlines Pickstock’s After Writing in order to understand her emphasis upon the liturgical nature of platonic dialogue. It is here that an ambiguity emerges between writing and codex books in Pickstock’s account. In response, the insights of book historians such as Roger Chartier will (...) be brought to bear in order to understand the longer history of the codex, which sees the printing press as a continuation of the early transition from roll to codex in the second century of the Common Era. It has long been noted that Christians of this period were early and pervasive adopters of codex binding for their sacred literature. By summarizing the reasons why, it will be shown how the codex expressed early Christian religious concerns. (shrink)

Theological deconstructionism written in a Derridean manner typically consists of twin announcements about the religious character, and significance, of contemporary experience and culture. The first is the announcement of the death of both the transcendent God and His latter-day substitutes, such as the transcendental self, which have provided the religious underpinnings for classical and modern culture, respectively.

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)