Déconstruire le christianisme, c'est demander en quoi et jusqu'où nous tenons à lui. Nullement donc une dénégation, mais l'accomplissement du mouvement de conflit, intérieur au christianisme lui-même, entre intégrité et désintégration. L'A. définit d'abord son concept du christianisme, comme ouverture transcendantale, dimension historique du sens (signification, et passage), et annonce de la fin. Puis il analyse, à la lumière de cette dernière idée, trois thèmes essentiels de la théologie chrétienne: la foi, le péché, le « Dieu-Vivant ». To de-construct Christianity (...) is to ask how, and to what extent, we are attached to it. Hence it is no negation, but the accomplishment of that conflict which takes place within Christianity, between integrity and disintegration. The author first defines his concept of Christianity, as a transcendental openness, historical form of meaningfulness (both as meaning and as leading-way), and foretelling of the end. Then he analyses, in the light of the latter, three essential themes of christian theology: faith, sin, and the « Living-God ». (shrink)
Re-treating Religion is the first volume to analyze his long-term project The Deconstruction of Christianity,especially his major statement of it in Dis-Enclosure.Nancy conceives monotheistic religion and secularization not as opposite ...
The subject of this essay is the thing itself, examined through the fantastic character of phenomenality, that is, through the coming into being or opening up of the world. The world of appearance emerges from a simple, absolute nothing: there is nothing behind or before the world. There are right away many things, a world: one thing implies others, since for one to be it must distinguish itself from another. Thus, if `to be' means `to distinguish,' Being begins with the (...) parting of things that makes their connection possible. Thus the thing in itself is straightaway the undergoing of its own parting; being is a passion. The Imago , then, is not a picture or figure, but the arriving in presence, which imagination elicits or welcomes by advancing in response. Imagination, then, is not first of all open to an image, but to world. It opens itself to the Thing, to the possibility of something, to parting, and in so doing brings itself toward creation. (shrink)
In Being and Time, Heidegger affirms that being-with or Mitsein is an essential constitution of Dasein but he does not submit this existential to the same rigorous analyses as other existentials. In this essay, Jean-Luc Nancy points to the different places where Heidegger erased the possibility of thinking an essential with that he himself opened. This erasure is due, according to Nancy, to the subordination of Mitsein to a thinking of the proper and the improper. The polarization of Being-with between (...) an improper face, the Anyone, and a proper one, the people, which is also, as Nancy shows, a polarization between everydayness and historicity, between a being-together in exteriority (indifference and anonymity) and a being-together in interiority (union through destiny), between a solitary dying and the sacrificial death in combat, leaves the essential with unthought. This essay shows not only the tensions that arise out of Heidegger’s own analyses of Mitsein and affect the whole of Being and Time but also underlines in the end a “shortfall in thinking” inherent not only to Heidegger’s work but, as Nancy claims, to our Western tradition, a shortfall which Nancy has attempted to remedy in his Being Singular Plural. (shrink)
This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby the (...) structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)
'On the Meanings of Democracy' points to the fragility and contested meanings of 'democracy'. Once 'the assurance is given that "democracy" is the only kind of political regime that is acceptable to an adult, emancipated population which is an end in itself, the very idea of democracy fades and becomes blurred and confusing'. Such 'wide-spread lack of clarity' gave rise to Europe's 'totalitarian' regimes. It is claimed that 'it is impossible to be simply a "democrat" without questioning what this really (...) means', and that to ignore the conceptual difficulties is as 'dangerous as rejecting democracy completely'. A 'minimal argument or blueprint for an enquiry into the possible meanings' of the term is proposed. The implications of taking 'democracy', the word, 'to describe the exercising of political power by the people' are explored. The 'people' as a social group distinct from some 'other reputedly superior part, which dominates it', is distinguished from the 'people' taken to mean 'the whole'. In the first sense, 'democracy' is not a regime but an uprising against a regime or government. In the second sense, the 'political sovereignty of the people' signifies their 'self-constitution as a people'. Accounts of democracy that focus not so much on its 'political specificity' as on 'civil society' or the 'social bond' are then explored. The author concludes with a reflection on the relationship between democracy, 'modernity' and the scope, nature and place of politics. (shrink)
The obsession is pursued of a word, a sign, a thought that is identical with the thing it signifies, where there is no space between the two. And the nightmare is entertained that, if such an identity is not attained, then intellectual work in general is worth nothing and should be destroyed.
If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces.What is this power that lies in the depths and recesses of an image—which is always only an (...) impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin?In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies.In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time. Jean-Luc Nancy is Distinguished Professor of Philosophy at the Université Marc Bloch, Strasbourg. The most recent of his many books to be published in English are A Finite Thinking and Multiple Arts. Jeff Fort has translated works by authors such as Jean Genet, Maurice Blanchot, and Jacques Derrida. He is currently a lecturer in the Department of Comparative Literature at the University of California, Berkeley. (shrink)
This book is a rich collection of philosophical essays radically interrogating key notions and preoccupations of the phenomenological tradition. While using Heidegger’s Being and Time as its permanent point of reference and dispute, this collection also confronts other important philosophers, such as Kant, Nietzsche, and Derrida. The projects of these pivotal thinkers of finitude are relentlessly pushed to their extreme, with respect both to their unexpected horizons and to their as yet unexplored analytical potential. A Finite Thinking shows that, paradoxically, (...) where the thought of finitude comes into its own it frees itself, not only to reaffirm a certain transformed and transformative presence, but also for a non-religious reconsideration and reaffirmation of certain theologemes, as well as of the body, heart, and love. This book shows the literary dimension of philosophical discourse, providing important enabling ideas for scholars of literature, cultural theory, and philosophy. (shrink)