The purpose of the essay is to contextualize and explain the philosophical project that is under way in Jacques Derrida's Khōraof 1993. Upon a cursory reading, the book will appear to be merely the unpacking of yet another undecidable term that Derrida has located within the history of metaphysics. But, in fact, the stakes of this text are much higher in that Derrida's aim is to continue developing a project that was announced in the late 1960s, namely, to deregionalize ontology. (...) Precisely what Derrida meant by that phrase and the various texts one would have to revisit in order to properly understand how Khōra instrumentalizes deregionalization is what this essay attempts to survey. Lastly, as Husserlian phenomenology is quite central to the concerns of this essay, researchers may consider it as a contribution to the study of Derrida's relation to Husserl's philosophy. Major texts by Derrida that are discussed include The Problem of Genesis in Husserlian Phenomenology, ‘La difference’, Voice and Phenomena, Of Grammatology, ‘Plato's Pharmacy’, ‘How to Avoid Speaking: Denials’, and Khora. Major topics include: the transcendental ego, regional phenomenology, voice and writing, differance, origin, genesis, woman, negative theology, khora, and Plato. (shrink)

"First Published in 2002, Routledge is an imprint of Taylor & Francis, an informa company.".

This paper considers a minor if not fleeting detail from Marcel Proust's À la recherche du temps perdu which easily escapes noticeability though it is a signifier that reverberates with and, in fact, repeats the extremely well known epiphany of the Madeleine, though by way of an extremely muted parody that I doubt a reader would notice if he or she had not stopped to examine it. This detail concerns a lobster dismantled on Marcel's plate during lunch at the home (...) of the Swanns. My argument is that the figure of the lobster is what psychologists call a "somatic projection," which in this case has a surreal effect, given that the lobster suddenly becomes a substitute for, say, a woman's body. Moreover, by way of a culinary issue concerning the preparation of lobsters in France and the types of lobstersthat are being prepared, the lobster improbably becomes an object that symbolically traverses sexual orientations, which is also a somatic projection of sorts. That the lobster is a fantasized sexual object whose monstrosity is constitutive of a sexual field divided by different orientations is a matter that this paper takes up. The paper ends with a few remarks about Salvador Dali's surrealist use of imagining the lobster as a fetish object for woman's sex. In various degrees, this paper is relevant to gay studies, object relations theory, the study of fantasy, surrealism in fiction, literature and the culinary, psychology and epistemology, visual art, and, of course, Proust studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Archive TraumaHerman Rapaport (bio)Jacques Derrida. Archive Fever: A Freudian Impression. Trans. Eric Prenowitz. Chicago: U of Chicago P, 1996. Trans. of Mal d’archive. Paris: Galilée, 1995.The occasion for Archive Fever (Mal d’archive) was a conference held at the Freud archives in England and the society that it serves. Throughout his lecture, Derrida returns to a number of problematics that he had considered earlier in his career with respect to (...) writing, in particular, issues raised in The Post Card that concern the destiny of the letter as legacy. No doubt the post cards, such as Derrida had considered them, were already a fascicle or archive of some sort, a sheaf of papers burning with some kind of fever or madness. So, for example, on September 7, 1977, one of the envois, as if cut to ribbons, reads in part as follows. And yet— No literature, yes, but still. Our delinquency, mylove, we are the worst criminals and the first victims. I would like not to kill anyone, and everything that I send you goes through meurtrières [murderesses; fortification openings for weapons]. As for the children, the last ones I might touch, the holocaust has already begun.We have never yet seen each other. Only written.[67–68]What exactly has Derrida archived here? Toward the back of the fascicle of cards Derrida will admit “that I will die without having understood anything” [247]. One wonders. Is this inevitable failure to understand constitutive of archive fever?Let’s start again. There is misunderstanding in the archive. It’s inevitable. And moreover, we have archives—we preserve archives—because there is something in them that defies understanding but that we want to grasp. In the archive that is Derrida’s fascicle of missives, the matter that defies understanding is as conspicuous as it is feverish. There is, for example, a rampant death wish that cannot decide whether to act or be acted upon, hence the wish not to kill and yet the wish to shoot something through the meurtrière. This, by way of verbal association, links up with the sending of something by way of a murderess. And then, the fragment of yet another fantasy, the holocaust of children and their being touched—by way of the murderesses? the malicious missives or orders that the subject has passed on to them? the kindness of the one who fantasizes and nostalgically holds on to them before the end? Obviously, one could speculate at length; indeed, we are supposed to speculate at length. Then the final scrap, “We have never yet seen each other. Only written.” Does this refer to the desk murderer and his accomplice? Or something more benign?Consider The Post Card to be the displaced main act of Archive Fever. As such The Post Card may well be Archive Fever’s phantom limb, something essential that has been cut off and that haunts the text. What sets Archive Fever apart, however, is that whereas the envois of The Post Card were, in essence, staged as a private correspondence inhospitable to onlookers, the Freud archives are being thought through from the [End Page 68] perspective of a public institution or apparatus that houses and is hospitable to that which it capitalizes upon, namely, the memory of something that would otherwise be lost. Still, as Derrida reminds us, perhaps with Archive Fever’s phantom limb in mind, archives occur at that moment when there is a structural breakdown in memory. This contrasts rather sharply with Michel Foucault’s view in The Archaeology of Knowledge that archives are, in essence, the textual systematization of their own enunciability and that, as such, they are predicated upon mnemonic reliability. Derrida’s archive, in contrast, is mnemonically unreliable insofar as it is somewhat feverish, hallucinatory, fragmentary, and, as in the case of The Post Card, somewhat sick (“as for the children... the holocaust has already begun”). In short, where there is regularity and efficiency in Foucault’s archive, there is trauma in Derrida’s.This trauma in the archive is what, I think, Derrida is referring to when he speaks of there being a mal d’archive. After all... (shrink)

In a time when our understanding of nationalism is critically important, Herman Rapaport brings together an original analysis of philosophical nationalism via Derrida's vital lecture series on the subject. Taking society as the core entry point from which all meaningful social relations emerge, enables an explication of Derrida on race, gender, sex, and family. Key 20th century philosophers' writings on nationalism are revisited through Derrida and reveal themselves anew in light of current polarising debates between universalism and tribalism.

As the spell of Jacques Derrida grows stronger, with more translations and analyses appearing every season, it is possible--and necessary--to determine what in his work is truly new and what continues philosophical and literary traditions. Although Martin Heidegger ahs been mentioned before as a precursor of deconstruction, Herman Rapaport is the first to develop the connections between the writings of the German philosopher and Derrida. Heidegger and Derrida discusses the French philosopher's adoption of certain Heideggerean themes and his extension or (...) overturning of them. But Rapaport does more than show how deconstruction builds on the philosophical foundations laid by Heidegger (and also by Hegel, Nietzsche, and Freud). In the most comprehensive study of Derrida's works to date, he tackles the problem of writing an intellectual history about a figure who has put into question the possibility of such a construction and acknowledges Derrida's concerns with Jewish history in relation to Western thought. (shrink)

'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...