Abstract

In a footnote of Monolingualism of the Other Derrida describes the plot of a ‘Japanese film whose name [he does] not know,’ but which presents a familial history of incest, violence and tattoos, and which relates to the dream of his style, his ‘ductus,’ what he wants to make arrive to language. By analysing this film together with other instances of tattooing in Derrida's body of work, this essay will show how, if Derrida's dreamt style is a colourful tattoo, this is because his texts are an undecidable inscription, a violent penetration and loving transfusion, between images and words.