This article analyses the definition of sovereignty that Bodin provides in his 1576 Six livres de la république, which outlines sovereignty using French, Greek, Latin, Italian and Hebrew terms. It argues that, despite this attention to more than one language, Bodin wishes to present sovereignty as an unbound ideality beyond any and every language. Nevertheless, it is argued that Bodin in fact privileges the French souveraineté as that which sets up the analogical continuity between Greek, Latin, Italian and Hebrew. Accordingly, (...) the article tracks the importance of French for Bodin in the wake of the 1539 Ordinance of Villers-Cotterêts, as well Bodin's claim that one of the ‘true marks of sovereignty’ is the power of the sovereign to change the language of his subjects. It ends by suggesting that the status of the exception in translation is not a species of sovereign exception, as Jean-Luc Nancy proposes, but a matter of linguistic justice. (shrink)

This article examines a number of philosophical concepts that are at stake in the visual culture of the nude. It particularly focuses on Aphrodite’s appearance, or rather, what I call her exposed concealment, in Jean-Luc Godard’s 1963 Le Mépris. A film, I argue, which is not only concerned with Aphrodite and the figure of the female nude via Brigitte Bardot, but which also explores the very idea of the sex goddess in cinema. In the first section I introduce arguments from (...) T.J. Clark about the changing status of the nude in nineteenth-century France. In the second section, having introduced Kenneth Clark’s work on Aphrodite, I outline Michael Williams’ work on the archaeology of divine stardom and discuss my disagreement with the way Ginette Vincendeau and Colin Gardner interpret Bardot in the film. In the longest section, the third, I examine several shots in Le Mépris in conversation with Stanley Cavell and argue that the nude scenes both invoke and rework the pictorial language of nudity found in the history of painting and sculpture, as well as Bardot’s film back catalogue, and I conclude by suggesting the film provides an indirect critique of what Hegel says about female nudity. (shrink)

My paper examines Derrida's attempts to resist, on the one hand, what he thought of as the increasing international hegemony of American English as the technolanguage of communication, and, on the other hand, forms of linguistic nationalism, when using the resources of the French language to deploy the syntagma: démocratie à venir. It does this by investigating what happens when claims about democracy are made in such a way as to be singularly idiomatic – made from a cosmopolitan point of (...) view that takes into account, rather than vitiates à la Kant, the singular poeticity of idioms. It contrasts Derrida's analysis of the relationship between the national, democracy and idiomaticity with Tocqueville's nationalistic claims; examining, in particular, the issue of how language supposedly binds people together, the role of singularity and generality in thinking about idioms, the divide between originary and techno-scientific idioms, and Derrida's practice of writing in plus d'une langue. It also outlines how, paradoxically, it is a form of idiomaticity and not linguistic instrumentality that disrupts the logic of appropriation, the logic inscribed in the neighbouring, though different, conceptual values of idion, proprius and le propre. (shrink)