In lieu of an abstract, here is a brief excerpt of the content:A Writing of Space:On French Critical Theory in 1973 and its AftermathTom Conley (bio)Je rempliz d'un beau nom ce grand espace vide(I fill with a handsome name this great empty space)—Joachim Du Bellay, Les regrets[...] l'unique mot ESPACE, indéfiniment répété, isolé, d'une ligne à l'autre; clos sur lui-même par la recurrence du e (espace), brisé pourtant par l'adjonction interne du s (espace), qui se réfléchit en trompe l'oeil phonétique (...) (espace); avec un centre immuable—espace—, où peut se lire l'amorce de la paix ou du tombeau—mais susceptible de faire cap de tout côté, comme on fait eau. L'espace est « découvert », « brisé » ou « vécu »—à droite, où poussent les épithètes ; l'espace est objet de « découverte », de « promenade » ou d' « odyssée », à gauche où s'alignent les substantifs qui commandent les clichés dont l'espace serait le complément obligé. Génitif d'un côté, ou pour le moin complétif, générateur de l'autre, ou en tout cas substance à qualités variables. Dans l'arbre à syntagmes ainsi érigé, l'espace est inventé par l'écriture qui fait alterner, sans jamais les combiner sur une même ligne, un espace donné comme objet stable d'exploration. [...]([...] the unique word ESPACE can be placed, indefinitely repeated, isolated, from one line to another ; closed upon itself by the recurrence of the e (espace), yet broken by the inner adjunction of the s (espace) reflected in a phonetic trompe-l'œil (espace) ; with an immutable center—espace—, in which can be read the first letters of peace or of tomb—but liable to go everywhere, like water in the sea. Space is « discovered, » « broken, » or « lived »—on the right where epithets come forward; space is the object of « discovery », of a « walk » or an « odyssey », on the left where are aligned the substantives that order the clichés for [End Page 189] which space would be the required object. Genitive on one side, or at least objective, generative of the other, or in every event a substance with variable traits. In the tree of syntagms erected above space is invented by writing that causes to alternate—without ever combining them on the same line—a given space as a stable object of exploration. [...]—Marie-Claire Ropars-Wuilleumier, Écrire l'espaceIn 1974 Henri Lefebvre published La production de l'espace (The Production of Space), a study said to have changed the course of critical reflection on the world around us. In his copious work Lefebvre locates the gaps and rifts between spatial practices or representational spaces and representations of space in order to mark the brute nature of social contradiction. Over history, he shows, those individuals who practice and represent space generally own control over those who do not or cannot. The very history of the reception of Lefebvre's work has been so rich that it cannot be disentangled from debates concerning the nature of the postmodern condition. It has brought forward an element, something akin to Lacan's "real," that cannot be contained or discerned by language, the arena of life itself. The impact of La production de l'espace cannot be underestimated.1 Yet, at the same time, the work remains a legacy or a point of reference for a concurrent labor born at the same moment and of a different texture than Lefebvre's: an activity that I would like to call a writing of space, a labor by which authors of different formation engage and invent alternative or other spaces within the texture of their own reflections on space. Like Lefebvre, they respond to a anxiety about the condition of space in which they live, but unlike him, they embody, in the gist of their own writing, spaces alternative to those in which they live. What follows is thus aimed at discerning why and how space emerged in the field of critical theory when it did and, in turn, at showing how the reflections remain crucial for critical practice here and now.The first of the two epigraphs above is... (shrink)

This article aims to consider how the ‘diagram’ or ‘little machine’ is integral to the dissociative, at once polyvocal and polymorphous writing that marks the work of Blanchot and that, in turn, informs the disjunctive – hence critical and productive – operation within the register of Deleuze's writings on cinema. I shall consider a number of Deleuze's ‘keywords’ or recurring formulas as diagrams, that is, as intermediate configurations at once visual and lexical, in order to show how, like rebuses or (...) ideograms, they form collisions and ruptures of voice and graphic form, in order to bring forward the ‘outside’ of thought – what cannot be put into language yet is conveyed in language. (shrink)

_Apres Deleuze: Philosophie et esthetique du cinema_ Edited by Dominique Chateau and Jacinto Lageira Paris: Dis Voir, 1996 ISBN: 2-912-308-003 152 pp.

In lieu of an abstract, here is a brief excerpt of the content:Putting French Studies on the MapTom Conley (bio)A good deal of work accomplished in new historicism over the last decade has opened new perspectives on the relations of literature to cartography. If new historicism tends to be affiliated with Shakespearean scholars who reconstruct the world of the Globe Theatre in the context of London and the Elizabethan world picture, it almost goes without saying that cartography, whose mobilization and (...) rapid growth occur from the beginnings of the printing press to the middle of the seventeenth century, plays a significant role in the analysis of print-culture in general. 1 The convergence of the two disciplines has shown that Renaissance authors, obsessed with the beginnings of writing, valorize both its geographical and spatial virtues and the ways that its pictogrammar constitutes “a grid for comprehension of the world” [Martin 14]. Humanists discovered that it simulated divisions of land in transactions devoted to their negotiation. What early archeologists of writing discovered is comparable today to what we gather about the meaning of the crosshatched rectangles and insignia we admire on the great prehistoric petroglyph of Bedolina standing over its arable valley below [Jacob 41–48; Thrower 4–5]. In the early modern age cartographical issues are central to broader inquiry about the power of writing.New historicists take up early modern cartography not just to assess the impact of Ptolemy on humanism but to develop agendas that concern how a sense of habitus was conceived, projected, and betrayed at a time of tumultuous change. They ask how the “world” could be both imagined and experienced when its boundaries were expanding at exponential rates. Cartographic studies have shown where the unknown, vital for any definition of consciousness or even the drives of life itself, was located and bracketed. 2 The unknown was an integral part of cartography prior to the eighteenth century. But to assert, as many have, that cartography sought to contain the unknown within the terrae incognitae it indicated on its maps does not solve the relation of the discipline with the [End Page 23] unknown. Evidence shows how much in the early modern age the unknown inhabits most written and schematic representations of the world. 3 Unnamed patches that we retrieve on maps printed in the sixteenth century prompt reverie of spaces that can be fancied as unknown by virtue of the maps themselves. The cartographical impulse in early modern studies cannot be dissociated from our own drive to find spots that can remove us from the regnum of nonplaces that define our world, that is, other places, whether heterotopical or “anywhere out of this world,” valorized when the “nonplace” has come to define contemporary human geography [see Augé 1992].Concurrently, the history of cartography remains one of the most immediate modes of access for what we can understand about the imagination of power, control, statecraft, and economy at a time when maps figured with increasing regularity in matters of administration. In broader terms, we can say that the unforeseen growth of map production and the consequent stress laid on fantasies of power that accompanied cartographic representations from the beginning of print culture to the establishment of “state reason” under Louis XIV bore witness to a greater spatialization of knowledge. What in the study of literature goes by the name of discourse is seen through a cartographical lens as patterns of utterances and exchanges that owe much to the influence of Ramism, monocular perspective, and diagrammatical logic. It is a truism to note that when the world became a function of cartographical representations made accessible to a public at large, the ways it was configured bore great impact on communication in general. 4In this issue of Diacritics, where the current plight and uncertain future of French studies is being pondered, it also goes without saying that many teachers and scholars are wondering what can be done to invigorate one of the richest of all literary canons. The assault that American media have led on French culture (among others, articles in the New Times by Roger Cohen and Craig Whitney) would lead us to believe that literature has [End Page 24] become equivalent to freeze-dried croissants, a... (shrink)

_Parages_ brings together four essays by Derrida on the fictions of Maurice Blanchot. Three of the essays—"Living On," "Title To Be Specified," and "The Law of Genre," are by now canonical. The fourth, "_Pa_ce Not" as well as Derrida's 1986 introduction to the French edition of the book, appear here in English for the first time. This was a breakthrough publication in the analysis of Blanchot, a notoriously difficult writer. It is safe to say Derrida contributed much to that writer's (...) reputation in both French and English, always insisting on the philosophical pertinence of Blanchot's work to any discussion of the relationship between literature and critical thought. Through patient citation, and an ample collocation and readings of Blanchot's various motifs, Derrida explores a variety of questions, including the limits of genre, the procedure of crossing out, and the evocation of a non-dialectical and non-privative negativity. The book marks a crucial stage in Derrida's itinerary and provides a context for his later writings on apophatics in such works as _On the Name_ and his response to Heidegger on death in _Aporias_. (shrink)