Abstract

New debate over the definition and significance of death has arisen in both analytic and continental philosophy. Derrida's work is permeated with the topic, which he claimed was the one most resistant to inquiry. Discussions of it by Naas, Miller and Hägglund have been limited by anthropomorphic approaches. This paper analyzes six of Derrida's contributions to thanatology, which for convenience are called ‘figures’: death as inherent in survivre; as specter; as given or put, as the Marrano's secret; as conjured by the death penalty; and as a nothingness to which we owe ourselves. Considered as efforts toward some constative formulation, each new foray recalls more familiar Derridean touchstones such as différance or trace; each disputes Heideggerian speculations on death as boundary or authenticity. However, these figures' most salient feature is a shift from the constative to the performative mode, which momentarily suggests death's concomitance with speech acts.