My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...) quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel. (shrink)

At one point in "Rationality and Imagination in Cultural History" M.H. Abrams cites Wayne Booth's assertion that the "deconstructionist" reading of a given work "is plainly and simply parasitical" on "the obvious or univocal reading."1 The latter is Abrams' phrase, the former Booth's. My citation of a citation is an example of a kind of chain which it will be part of my intention here to interrogate. What happens when a critical essay extracts a "passage" and "cites" it? Is this (...) different from a citation, echo, or allusion within a poem? Is a citation an alien parasite within the body of its host, the main text, or is it the other way around, the interpretative text the parasite which surrounds and strangles the citation which is its host? The host feeds the parasite and makes its life possible, but at the same time is killed by it, as "criticism" is often said to kill "literature." Or can host and parasite live happily together, in the domicile of the same text, feeding each other or sharing the food? · 1. Critical Inquiry 2, no. 3 : 457-58. The first phrase is quoted from Wayne Booth, "M.H. Abrams: Historian as Critic, Critic as Pluralist," ibid., p. 441. J. Hillis Miller's contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "Theory and Practice: Response to Vincent Leitch". (shrink)

-/- For I have to remind you, somewhat bluntly and simply, that my most constant interest, coming even before my philosophical interest I should say, if this is possible, has been directed towards literature, towards that writing which is called literature. -/- What is literature? –Jacques Derrida, “The Time of a Thesis, Punctuations” -/- Literature is everywhere in Jacques Derrida's writing. It is there from one end to the other of his work, even in essays or books that superficially do (...) not seem to involve “literature.” If Derek Attridge had not already invented or borrowed the phrase “Acts of Literature” as the title for his fine anthology of Derrida's writings about literature I might have called this chapter “Derrida's Acts of Literature.” The phrase “acts of literature” is a double genitive, subjective and objective at once. It names acts performed by literature, and at the same time acts that create or comment on literature. In what sense can literature, or writing about literature, or writing literature, or reading literature be an “act”? That is one of my main questions here. -/- Derrida, along with all the other things he is (as this volume testifies), is one of the great literary critics of the twentieth century. (shrink)

The function of Nietzsche in our present intellectual life is a salient example of the continued vitality of the nineteenth-century in the thought of today. In Germany, in France, in Italy, and in the United States new work of editing and commentary has made Nietzsche a current force. The monumental Colli-Montinari edition, which includes many of Nietzsche’s hitherto unpublished notebooks and drafts, is the most conspicuous evidence of this on the textual side. This edition will make available in German, French, (...) Italian, and Japanese versions a far more complete and accurate Nietzsche than we have had. Mention should also be made of the new English translations by Walter Kaufmann. These have made good versions of most of Nietzsche’s books available to those with no German, though the Kaufmann translations are far less complete than the Colli-Montinari edition. On the side of commentary, the bibliography of new work on Nietzsche is enormous. Two collective volumes may be mentioned. They indicate at least a sketch map of this rugged terrain: The New Nietzsche: Contemporary Styles of Interpretation, edited and introduced by David D. Allison, and Nietzsche Aujourd’hui? The new work appropriates Nietzsche for present purposes. Ideas which may seem especially characteristic of the literature and philosophy of our own day are found to have been already worked out by Nietzsche in his own way. These would include linguistic, artistic, historical, social, and psychological concepts. Among these is Nietzsche’s systematic putting in question of the idea that the self is a substantial and integral entity. (shrink)

"Matters"! This is an odd word when used as a verb. Of course we know what it means. The verbal form of "matter" means "count for something," "have import," "have effects in the real world," "be worth taking seriously." Using the word as a noun, however, someone might speak of "literature matters," meaning the whole realm that involves literature. The Newsletter of the Maine Chapter of the Appalachian Mountain Club is called Wilderness Matters, punning on the word as a noun (...) and as a verb. We might say, analogously, "Literature Matters," as my title does. In medieval Europe learned people spoke of "the matter of Rome," "the matter of Arthur," "the matter of Greece," meaning the whole set of stories that lay behind .. (shrink)

This essay attempts to ‘read’ the first page of Jacques Derrida's Glas, while at the same time reporting as best I can what actually goes on when I make this effort of reading. I try to exemplify in detail my claim that what goes on in reading is much stranger and more complex that one might think. An intricate series of events took place when I first received Glas in the mail and opened it, reading first the single-sheet insert and (...) then looking at the cover, the title page, and, finally, the first page of the text proper. In my case, at least, in addition to trying to make sense of the words on the page, all sorts of somatic and affective responses were involved, as well as a constant unsuccessful attempt to create a coherent mental image based not only on the way the words are arranged on the page, but also on the bewildering complexity of what the words say. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

Traditional Chinese philosophy, if engaged at all, is often regarded as an object of antiquated curiosity and dismissed as unimportant in the current age of globalization. Written by a team of internationally renowned scholars, this book, however, challenges this judgement and offers an in-depth study of pre-modern Chinese philosophy from an interdisciplinary perspective. Exploring the relevance of traditional Chinese philosophy for the global age, it takes a comparative approach, analysing ancient Chinese philosophy in its relation to Western ideas and contemporary (...) postmodernist theories. The conversation extends over a broad spectrum of philosophical areas and themes, ranging from metaphysics, hermeneutics, political theory, religion and aesthetics to specific philosophical schools including Confucianism, Daoism, and Buddhism. By engaging many time-honoured philosophical issues from a comparative perspective, this book bridges the gap between Eastern and Western thought and emphasises the need for a newly fortified global humanism and a deeper appreciation of different philosophical and religious values in an age gripped by large-scale crises. Arguing that traditional Chinese philosophy has immediate relevance to the many challenges of modern life, this book will be useful to students and scholars of Asian Philosophy and Asian Studies in general. (shrink)

This chapter contrasts Derrida's strategies of “deconstruction” with Paul de Man's. It shows how each characteristically puts an essay together to make it performatively effective. The author's primary concern is to understand better Derrida's rhetorical strategies in his essays by contrasting them with de Man's. He begins the comparison with a description of de Man's essay. Unlike de Man's essay, Derrida's “Faith and Knowledge” does not end in a climactic unforeseen concluding formulation. It just sort of stops, without by any (...) means having exhausted the energy of repetition with a difference, or “iterability,” that has generated section after section, followed by a short unnumbered coda in italics and parentheses. The author concludes that the juxtaposition of an essay by de Man and an essay by Derrida demonstrates their radical differences in rhetorical strategy. (shrink)

A woman's right to say no to a proposal of marriage, in defiance of her family and friends, was an essential feature of Victorian middle- and upper-class ideology, as it is represented in novels of the time. This right was based on the assumptions that falling in love is to some degree fortuitous, but that it is a permanent ontological change of selfhood. A good woman is justified in saying no even to an advantageous marriage proposal if she does not (...) love her suitor. Anthony Trollope's novels offer varied dramatizations of these assumptions, while Henry James's novels recount their incipient breakdown. (shrink)

The story of Ariadne has, as is the way with myths, its slightly asymmetrical echoes along both the narrative lines which converge in her marriage to Dionysus. Daedalus it was who told Ariadne how to save Theseus with the thread. Imprisoned by Minos in his own labyrinth, he escapes by flight, survives the fall of Icarus, and reaches Sicily safely. Daedalus is then discovered by Minos when he solves the puzzle posed publicly by Minos, with the offer of a reward (...) to the solver: How to run a thread through all the chambers and intricate windings of a complex seashell? Daedalus pierces the center of the shell, ties a thread to an ant, puts the ant in the pierced hole, and wins the prize when the ant emerges at the mouth of the shell. Thread and labyrinth, thread intricately crinkled to and fro as the retracing of the labyrinth which defeats the labyrinth but makes another intricate web at the same time—pattern is here superimposed on pattern, like the two homologous stories themselves. J. Hillis Miller is Gray Professor of Rhetoric and chairman of the department of English at Yale. He is the author of Charles Dickens: The World of His Novels, The Disappearance of God, Thomas Hardy: Distance and Desire, Fiction and Repetition, and a study of narrative terminology, called Ariadne's Thread, of which his essay in this issue of Critical Inquiry is a part. His contributions to Critical Inquiry are "The Critic as Host" and "Theory and Practice: Response to Vincent Leitch". (shrink)

Leitch speaks of his procedure with my work as employing an "abrupt asyndetic format" and as being "a metonymic montage in which themes and citations are playfully and copiously combined." One form of this playfulness is the panoply of figures he uses to describe me and my criticism. The need to use figures for this is interesting, as is their incoherence, though the figures can be shown to fall into a rough antithetical pattern. At one moment the deconstructive critic is (...) a fairy godmother able to turn the pumpkin of the Western tradition into a phantasmal coach. He is a magician or wizard who shows that things are not what they have seemed with the great texts of our tradition or who turns them into something other than what they have seemed solidly to be, pragmatic pumpkins, unequivocally there. At the next moment the deconstructer is a disco dancer, moving sideways in the "lateral dance of interpretation" . The more or less benign fairy godmother and dancer then turns into a "nihilistic magician - who dances demonically upon the broken and scattered fragments of the Western tradition." He becomes a ferocious shaman, "Ravening, raging, and uprooting that he may come/Into the desolation of reality" . He is "a bull-deconstructer loose in the china shop of Western tradition" . In the next moment the bull metamorphoses into a lamb, as Leitch realizes the conservative aspects of deconstruction, the way it claims to be rescuing and preserving aspects of our culture which have always been there, both in literary and philosophical works and in the techniques of interpreting them. The same point is made more sharply and critically by William E. Cain in another recent essay on my work . In the final paragraph of his essay, Leitch has fun inventing permutations of an image of sand in the salad from one of my essays. Will deconstruction sandblast the whole shebang, or will the alien grain of sand turn into a pearl of price? J. Hillis Miller is Frederick W. Hilles Professor of English at Yale. His previous contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "The Critic as Host". (shrink)

This chapter addresses the question: Who or what decides? How, for Derrida, does a bona fide decision take place? Decision is analyzed in many places in Derrida's work, particularly in the late work. The chapter focuses “micrologically” on what seems to be Derrida's fullest and most elaborate expression of what he means by “decision.” This is an intricate sequence in “Force of Law”. It begins with an apparently peripheral subquestion. Can a decision be a catastrophe? If so, in what sense?