I examine the contribution that the first part of Maurice Blancot's recit Death Sentence makes to his understanding of the relationship between philosophy and literature. I use a reading of the Kantian, transcendental account of literature in “How is Literature Possible” as the starting point for an analysis of the way in which Blanchot uses secrets in describing J.'s death in Death Sentence, linking secrecy up with the imaginary, ambiguity and dissimulation. The purpose for this refinement is to challenge the (...) philosophical tradition's self-understanding, particularly as exhibited in Hegel. This challenge is seen by reading the account of grief in the first part of Death Sentence as a parody of Hegel's interpretation of Antigone. (shrink)

In this article I revisit the relationship between Immanuel Kant and the Marquis De Sade, following not Jacques Lacan but Pierre Klossowski. In the process I suggest that Sade's work is marred by a series of antinomies that prevent him from stating a pure practical libertine reason and leave his view purely theoretical.

: How might we locate originality as emerging from within the "discrete" work of commentary? Because many women have engaged with philosophy in forms (including commentary) that preclude their work from being seen as properly "original," this question is a feminist issue. Via the work of selected contemporary French women philosophers, the author shows how commentary can reconfigure the philosophical tradition in innovative ways, as well as in ways that change what counts as philosophical innovation.

Biography of Charles Péguy, french thinker.