Abstract

This paper has three interwoven aims: to demonstrate the constitutive role of style in deconstruction, which, when not entirely misconstrued, has yet to be rigorously appreciated; to develop the notion of ‘de-distancing’ as a necessary but overlooked notion for understanding not only the ontological stakes of Dasein in Being in Time but also Derrida’s intervention in the relation between Heidegger, Nietzsche, and the limits of metaphysics; to demonstrate that Derrida’s recourse to de-distancing as the spatiality of woman in Spurs punctures the horizon within which Heidegger attempts to situate the notion for essential reasons and, in the same stroke, instances the constitutive role of style in deconstruction.