Hélène Cixous has written a substantial body of writings about art. This article borrows Derrida's conception of the countersignature to explore the relationship she envisages in them between the plastic arts and writing. It argues that the works to which Cixous is drawn, many of which involve copying words, are driven by the desire to capture what is essentially uncapturable in the artist's idiom. Recognizing in them a displacement of her own concerns, Cixous suggests in these texts that all art (...) speaks a common language in so far as it represents the same attempt to pass beyond its own limits, visual or verbal. Writing and painting are thus as much translations of each other as one language is of another. In particular, their status as translations or copies profoundly troubles the possibility of determining the signatory of the text. (shrink)

This article discusses Glas in the light of Derrida's notion of the countersignature as both affirmation and betrayal of the countersigned. It explores how the two columns of Glas confirm as well as oppose each other, notably in relation to sexual difference, and examines how Derrida in turn is both faithful and unfaithful towards Hegel and Genet. Tracing the complexity of Derrida's signature, it reflects on its broader implications for his deconstructive project.

Hélène Cixous and Jacques Derrida position themselves very differently in relation to literature. This article analyses that difference in the light of their relation to the symptom, the fundamentally unanalysable form through which the unconscious manifests itself. While Derrida dwells more on the impossibility of ever accessing the original secret wound to whose existence the symptom opaquely attests, Cixous tends to focus more on the effect, the symptom itself. For both, the ‘chance’ of literature lies in the fact that neither (...) the source nor the destination of letters can be determined. I argue that the difference between Derrida's relative resignation to this condition and Cixous's celebration of it helps to explain the contrast between his position at the margins of literature and her unequivocal embrace of it. (shrink)